Art and Design Education

Tasarım tabanlı disiplinlerde temel tasarım dersi genel olarak; tasarım ögeleri, ilkeleri, Gestalt algı kuramlarını içeren teorik anlatımlarla verilmekte, sonrasında öğrencilere yaptırılan iki ve üç boyutlu soyut tasarımlarla desteklenmektedir. Tüm bu çalışmalar görsel dilin ve ifadenin geliştirilmesinde önemli bir rol oynamaktadır. Özellikle imgenin görselleştirilmesinde ve tasarıma aktarılması aşamasında öğrenciler, bu öğretilerden beslenerek tasarım kararlarına yön vermektedirler. Bu nedenle “Temel Tasarım” dersi, öğrencilerin biçimsel ve estetik bir bakış açısı geliştirebilmeleri için büyük bir önem arz etmektedir. Ancak bu bakış açısının soyut düşünceden, somut bir ürüne dönüştürülmesi genellikle ders kapsamında test edilememektedir. Bu çalışma kapsamında; Türkiye’nin kuzey doğusunda bir sahil kenti olan Trabzon’da bulunan Karadeniz Teknik Üniversitesi İç
Mimarlık Bölümünde birinci yarıyılda verilmekte olan “Temel Tasarım” dersinin bir çıktısı olarak öğrencilerin dersten edinimleri dönem sonunda bir workshop çalışması ile sınanmıştır. Çalışmanın yöntemi olarak öğrencilerin tasarladıkları mobilyaların işlevsel özellikleri ve kullandıkları temel tasarım öge-ilkeleri ve Gestalt algı kuralları SPSS programına girilmiş, elde edilen veriler çalışmanın amaçları doğrultusunda değerlendirilmiştir.

Identity development of design students is a dynamic entanglement between personal and professional identities. Yet, literature primarily focuses on professional identity, based on institutionalized definitions of design to which students must conform. In contrast, we explore personal motivations for wanting to become a designer. An instrumental case study explores how an undergraduate design student develops personal principles for good design, and a personal vision for designing. Results show these principles and underlying vision are applied in the student's design work, leading to development of a holistic identity (personal and professional). Finally, we note this exercise necessitated a plural and dynamic understanding of design (education). We therefore encourage design students and educators to co-design educational spaces and processes to stimulate enriched potentiality of design culture.

Although the use of digital technologies in teacher education
has reached advanced stages in the developed world, it is still
in its infancy in many developing countries, including Uganda.
In their struggle to advance the use of digital technologies in
teaching, educators face various challenges that prevent the
successful adoption of such technologies in the classroom.
This study explores the motivation and material accessibility
challenges that art and design (A&D) educators in Uganda
encounter when teaching with digital technologies and examines how they cope with these challenges. To address the
research question, the study adopts a descriptive case study
design that seeks to document the participants’ accounts.
Semi-structured interviews and non-participant observations
were employed to collect data from teacher educators (TEs)
and administrators (ADs) in two teacher training institutions
(TTIs) in Uganda. The findings indicate that A&D TEs face
accessibility challenges relating to motivation and material
access. The educators use various strategies to cope with
the existing challenges including peer support, continual
practice, improvisation, lobbying for technical and financial
support, and advocating for Bring Your Own Device (BYOD).

Students of all ages can learn to think like artists! Studio Thinking: The Real Benefits of Visual Arts Education changed the conversation about quality arts education. Now, a decade later, this new publication shows how the eight Studio Habits of Mind and four Studio Structures can be used successfully with younger students in a range of socioeconomic contexts and school environments.

Book Features:

Habit-by-habit definitions, classroom examples, and related visual artist exemplars emphasizing contemporary artists.
Full color mini-posters teachers can hang in their classrooms to illustrate each of the eight Studio Habits of Mind.
Sample templates for students to use as they plan, reflect upon, and talk about works of art.
Innovative approaches to assessment and strategies for implementation.
Photos throughout the book of Studio Thinking signage and activities, students making art, and student artworks.
Suggestions for using Studio Thinking for arts education advocacy.

In this article, the authors speculate on the role that art education might play in fostering caring relationships and experiences for children.  Inspired by the work of Nel Noddings, the authors offer suggestions for developing a caring approach to art education curricula. The article introduces strategies that are generally congruent with Noddings’ concept of relational ethics and that include the use of (a) instructional units based on selected themes of care, (b) cooperative art activities, and (c) the willingness of teachers to adopt caring personas in their art classrooms.

Since the introduction of the National Student Survey in 2005, it has been noted that the average satisfaction scores vary across different disciplines (see, for example, Vaughan and Yorke 2009, p.8). And for just as long, it has been noted that art and design graduates’ satisfaction is among the lowest scoring disciplines. As the influence and reach of the NSS has increased - most recently in its inclusion as a key component of the government’s Key Information Set initiative - the art and design community has become increasingly concerned to explain the satisfaction gap experienced by many students studying in this area.

The community’s response is well articulated in the title of a study that explores this issue: “’I can’t believe it’s not better’: The Paradox of NSS scores for Art & Design” (Vaughan and Yorke 2009). This study was commissioned by GLAD  to look at how art and design has experienced and responded to the NSS, especially in the two major areas of feedback and assessment and organisation and management. The report showed that institutions varied considerably in terms of the ratings students gave to NSS questions, implying that there had been differential success in addressing aspects of the student experience probed by the survey. What the report did not attempt to do was gain an understanding of the basis of the ratings given by students.

It was therefore a logical extension to ask how art and design students understand and interpret the questions in the National Student Survey, and GLAD and HEA commissioned the authors to carry out a small research project which takes a snapshot of how a small group of art and design students interpreted the NSS questions in 2011.

This report is an overview of this study, and it aims to help colleagues in art and design subjects to:

• understand why art and design subjects receive the NSS ratings that they do;
• illuminate and understand how art and design students interpret and understand this generic questionnaire; and
• provide further information to assist staff and students to prepare for the NSS.

The key aim of this study is not to explain the responses that students give in the NSS. Its focus is instead on seeking to understand the ways in which students understand the NSS questions.  As a result this is a qualitative interview-based study.

The NSS questionnaire comprises 22 questions, and before the interviews the researchers narrowed the focus of this study down to eight of these. The eight questions were selected because they were viewed as central to the survey (e.g. question 22), or because they were questions that are particularly interesting in relation to creative and studio-based pedagogy in art and design (e.g. question 1).

This is an essay about an experiment at the School of the Art Institute of Chicago to combine studio art and art history. It's the result of a wonderful class I taught with two studio instructors, Troy Briggs and Maggie Wong. The three of us took a year to design a completely new first-year class that integrated the usual art hisrory first-year experience into elements of the required first-year studio practice. The Journal of Visual Art Practice posted this online for a year, collecting responses. They have been published separately and can be found on the journal's website at
https://www.tandfonline.com/doi/full/10.1080/14702029.2024.2360787

This paper discusses Augmented Reality on smartphones as a tool for building complex structures without utilizing CNC technology while showcasing architectural research. A 1:1 prototype made of concrete blocks was built to test the current stage of this technology, along with an interactive virtual exhibition. Results showed a positive outcome regarding possibilities to use the accessible technology of smartphones as a complementary tool, both in the construction site and to computerize construction work nowadays. Despite tolerance issues in the placement of blocks, the technology proved effectful as a construction and visualization method

This report outlines the context, method and reflections of ‘What is the Point of Employability in Art and Design?’ symposium, which brought together over 40 colleagues from 17 different UK Higher Education institutions and 2 related organisations in the field of employability.

The seminar offered colleagues the opportunity to share, debate and explore enterprise and employability from cross-disciplinary backgrounds. Art and design is not one subject, therefore the seminar explored and shared approaches that place enterprise and employability as part of, not replacing discipline(s) so that it is valued as part of practice and can inform policy and practice in Art and Design Higher Education.

The seminar explored the following areas:
• What does employability and enterprise mean in the context of art and design?
• How can we talk about this work so that it understood within creative practice?
• What are the differences in employability and enterprise curricula in the range of disciplines within art and design?

This event was funded by the Council for Higher Education in Art and Design (CHEAD) and University of the Arts London in May 2015.