Art Design

It is generally accepted that art and design related disciplines attract a higher proportion of students with dyslexia than traditional academic counter-parts. Combined with this is a prevalent perception that dyslexia predominantly affects students' writ-ing and linguistic ability and it is this, as ...

The domain of interiors constitutes a point of tension between practicing architects and interior designers. Design of interior spaces is a significant part of architectural profession. Yet, to what extent does architectural education keep pace with changing demands in rendering topics that are identified as pertinent to the design of interiors? This study explores interior designrelated coursework taught in accredited architectural programmes in the United States. Two methods of collecting data are used: self report from architectural programme chairs and content analysis of web-site posted programme catalogues describing course content. The findings show that many interior design concepts are not well addressed in the architectural curricula [1]. On average, only 0.44% of program content is dedicated to curricula focusing on knowledge and skills in shaping interiors. These findings offer a parameter to educators who are involved in assessing and reforming architectural education by expanding issues of design in general. The authors contend that the pedagogical approach in architectural programmes would benefit from the inclusion of more interior design concepts and through such education efforts the stature of interior design is likely to be improved.

Writing has never been more exicting than before, although the asemic writing that emerges has to be understood as the amorphous form of any common alphabetical writings. Asemic writing intends to explore the field that has not yet been distinguished, when the practice has not yet separated by definition between anulis (writing) and anglukis (painting). Nevertheless, it may be assumed that it was being written in a language we are not yet familiar with. Unaware of those asemic movement, two of Indonesian prominent artist has been practicing the mode of mark making verisimilitude asemic writings. Made Wianta (1949-2020), Balinese Indonesian master of painting, poet and calligrapher, turned his painting into realm of calligraphy and vice versa. another prominent Chinese Calligrapher in 2020, Tjuju Widaja 79 year old from Bandung, get her doctoral degree from local public university by releasing the strokes of chinese characters from its origin meaning into experimenting layers in surfaces calligraphic painting. This article here intends to convey a number of concepts that are expected to be related in the effort to cultivate the asemic writing as language as well as images. The interplay between visible and invisible give much more mistery than it may seems. The truthful of meaningful world seem hiding behind the visible, it awaitings in ways that are more drawn out be recognized, yet once it occurs to surface, all of sudden it shades away back to the edge, challenging us to figure out what was it anyway. Asemic is becoming of a system without structure, a meaningful with no grounded semantical meaning.

This article argues that interior/architectural design education favours a dominance of final presentation over the design process in the studio environment, particularly in the evaluation of a project. It suggests that the appeal of design juries for pleasant drawings, which may shift the emphasis from the project itself to its representation, may be recognized as a discursive habit with limited contribution for educational concerns. The theoretical stance argues that the interest for graphical presentation has primarily remained within a formalist aesthetic agenda and has rarely been conceptualized beyond this convention. With this in mind a series of questions is developed in order to reform the relationship between graphical presentation and the design education process.

This report of a series of protocol studies of designers at varying levels of competence examines the pedagogical system of integrating developing skills with increasing project complexity as a definition of design expeitise. It comments on different kinds of problem-solving strategies which are used to ensure the appropriateness of the aims of design education, and assesses the relative importance that novelty and creativity, uncertainty and information, imagination and constructive thought, and drawing and modelling play in the maturation of designers. The results show a lack of predictability, but that the abilities needed for design expertise can be articulated and developed as educational programmes.

Addressing lesbian, gay, bisexual, transgender and queer (lgbtq) concerns presents U.S. art teacher educators with a wide range of challenges. These can be particularly daunting for those, like us, who are queer. If our pre-service art teachers are to be prepared to equitably educate all students, we contend they must be introduced to lgbtq social justice struggles, the works and identities of queer cultural contributors, and the complexities of queering art education. Once prepared to critique those heteronormative demands embedded in school policies, curricula and visual culture, and to develop lessons addressing queer content, they may be armed and readied to do battle in an ongoing U.S. culture war.

Addressing lesbian, gay, bisexual, transgender and queer (lgbtq) concerns presents U.S. art teacher educators with a wide range of challenges. These can be particularly daunting for those, like us, who are queer. If our pre-service art teachers are to be prepared to equitably educate all students, we contend they must be introduced to lgbtq social justice struggles, the works and identities of queer cultural contributors, and the complexities of queering art education. Once prepared to critique those heteronormative demands embedded in school policies, curricula and visual culture, and to develop lessons addressing queer content, they may be armed and readied to do battle in an ongoing U.S. culture war.

"El presente trabajo publica la contratación de un retablo dedicado a las Ánimas, hoy desaparecido, para la iglesia de Calaceite (Teruel). Fue convenida en 1558 con dos pintores procedentes de Tortosa, Joan Desí y el flamenco Godefroy van Steynemolen. Su principal aliciente es que incluye un boceto de la pieza que, aunque muy sencillo, incrementa la corta nómina de trazas conocidas en el Aragón del Quinientos. Pero además documenta la expansión del modelo levantino de los retablos de esa advocación y fija el nombre del interviniente flamenco, difícil de reconocer con certeza en las menciones locales, lo que permite relacionarlo con la familia Steynemolen, originaria de Malinas, algunos de cuyos miembros tuvieron una cierta relevancia en el mundo de las letras y las artes del siglo XVI, incluso en un escenario cercano: la ciudad de Zaragoza.

This work presents a contract to make an altarpiece, today lost, consecrated to the Souls of Purgatory for a church in Calaceite (Teruel). That contract was signed by two painters from the city of Tortosa: Joan Desi and a Flemish artist called Godefroy van Steynemolen. The most interesting thing in the document is that it includes a design for the altarpiece. Though it is very simple, it is one of the few preserved ones in Aragon at that time and, besides, it shows the success of that eastern pattern for altarpieces. But there is another interesting thing in that document: the Flemish artist’s autograph. It lets us know his right name, in order to identify him in other Spanish documents, as a member of the Steynemolen family, from the city of Mechelen. Some of whose members had a certain importance in the world of arts and humanism in XVIth century, even in the nearby city of Saragosse."

This article describes some of the conclusions reached from an experiment using portfolios for art external assessment at the end of secondary education (age 17+) conducted in five Portuguese schools in 2001–2003. Several positive outcomes were found. Students found portfolios to be motivating and fostering constructive learning, dialogue and co-operation between students and teachers. The new assessment procedures developed communities of assessors enabling some increased consistency of examination results and positive professional development opportunities. However some weaknesses were detected such as potential bias related to the degree of teacher aid and practical problems as, for example, time-consuming in-service teacher training.

Today it is widely established in design research that empathy is an important part of creating a true understanding of user experience as a resource for design. A typical challenge is how to transmit the feeling of empathy acquired by user studies to designers who have not participated in the user study. In this article, we show how we attained an empathic understanding through storytelling and aroused empathy to others using repetitive narratives in an experimental presentation bringing forth factual, reflective and experiential aspects of the user information. Taking as a starting point our experiences with the design project Suomenlinna Seclusive, we conclude with the potential of using narratives for invoking design empathy.

Outline and articulate the specifics of each of the listed interior styles. Create the ability to correctly set the interior to the style specified by matching the dominant characteristic. The method of field surveys of public institutions of the city of Lviv and general scientific methods were used. Literature sources on the topic of the study are considered in accordance with the methods of comparative analysis. The systematization of the material is based on the techniques of analysis, synthesis and analogies as well. Based on the literature review of approaches to the classification of interiors in considered styles have been identified; the lack of uniform interpretation of their features was established. At the same time, the existence of a peculiar identity of their perception in the scientific literature was confirmed. Samples of modern interiors of Lviv restaurants are considered and their style is demonstrated. The concept of the existence of a key characteristic for each ...

Grafik tasarimin en temel calisma alanlarindan birisi olan afis, zaman ve teknolojik gelismelerin etkisiyle, bircok tasarim mecrasinda oldugu gibi, gunumuzde yeni formlar ile karsimiza cikmaktadir. Bu surecte tasarimcilar, yeni teknolojik imkanlari kullanarak, geleneksel basili afise alternatif olabilecek, hareketli, sesli veya etkilesimli bazi yeni afis formlari tasarlamaya baslamislardir. Bu calisma, hareketli afisin tarihi, Turkiye’de ortaya cikis sureci ve kalici bir mecra olup olamayacagi ile ilgili bulgular sunmaktadir. Arastirma kapsaminda Turkiye’den hareketli afis tasarimi alaninda calisma yapmis on sekiz tasarimcinin gorusleri nicel yontemler kullanilarak alinmistir. Hareketli afis ve afisin gelecegi ile ilgili elde edilen bu veriler cekim kurami baglaminda analiz edilmistir. Bulgular, tasarimcilarin hareketli afisi, afisin geleceginde onemli rol oynayacak bir tasarim mecrasi olarak gorduklerini desteklemektedir. Tasarimcilarin buyuk cogunlugu geleneksel basili afisin de a...

The study seeks to investigate the impact of the Fourth Industrial Revolution (4IR) technologies. These technologies include Facebook, Instagram, and Online art gallery. We consider these technologies as part of 4IR because they are digital. In the World Economic Forum, also refers to 4IR as the digital revolution. Furthermore, these platforms use AI technology to function. We chose to select these platforms because of their potential in promoting the artworks of artists. Furthermore, no existing study in South Africa has looked into the impact of these online platforms in the works of emerging South African artists. The purpose of the study is to mitigate some of the challenges encountered by artists. We designed an online questionnaire through google drive and selected 209 participants for the study. We chose to select artists and designers as part of our sample. The selected participants were artists of different categories, both emerging and established artists. The questionnair...