This tool allows students to rapidly develop a small game-like interactive experience with a minimal amount of coding.
St John’s University
Teaching computer coding to students of design presents a unique
context, with its own set of challenges. Design students may lack deep intrinsic
motivation toward the subject, perceiving code-related classes as unwelcome, stress-inducing
requirements in the curriculum. Additionally, they may be intimidated not only
by the task of coding in general, but also by the complexity of the software
development kits used by more experienced coders. Finally, the time and
cognitive load required to code even a small interactive project can be
daunting even to the most motivated learner.
Design students do, however, bring unique strengths to the
table. Designers are often highly motivated to learn tools that help them make
tangible creative pieces. They typically bring skills such as illustration,
photography, and project management to their work. And design students who have
internalized the lessons of working with grids, character styles, and similar visual
systems are primed to work with analogous systems in a coding context.
The Mini UnGame ENgine (MUGEN) is an attempt to bridge these
challenges and opportunities by presenting design students with a simple, pedagogically
rapidly develop a small game-like interactive experience with a minimal amount
of code. MUGEN offers teachers a flexible tool that can support an
instructional approach focused on visual design, or an approach focused more on
coding, or on an approach that balances the two.
This presentation will describe MUGEN’s aims and current
state of development, share tentative results of its first deployment in a
design classroom, and consider possibilities for future development and
applications of this pedagogical work-in-progress.
Solution: add a significant drawing component to the curriculum
University of Massachusetts Lowell
I teach the History of Graphic Design to art and design
students. Most of them are visual learners. I find it an exciting challenge to
teach in a way that inspires learning among these students. Below are excerpts
from an article I wrote for the international journal Visual Inquiry in 2013
entitled, “How Drawing Helps Keep History Present”.
When I was an art student, one of my favorite classes
was art history. I remember my professor’s lectures to be fascinating yet I
remember almost nothing about art history itself. The information she shared
with the class didn’t stick with me. Two decades later I was asked to teach a
History of Graphic Design class. I was thrilled and terrified. How could I
teach a class as interesting as the one I took years before yet help my
students retain the information they were learning? My solution was simple: add
a significant drawing component to the curriculum. By having students create
work based on the lectures I presented they put their knowledge into immediate
use. The results were astounding. On tests throughout the semester, questions
relating to the drawing assignments were much more likely to be answered
correctly than other questions.
A pleasant surprise—regardless of a student’s inherent
drawing skill, using drawing was an effective tool. My class consisted of both
art majors and non-art majors. I graded not on the expertise of the rendering,
but rather on how each student integrated new knowledge of graphic design
history into the drawing assignments.
The most rewarding part of the course was seeing how
much the students loved the drawing assignments. At the end of the class when I
asked the students what they thought they would remember from the semester, all
of them stated a lesson that went along with a drawing assignment.
This presentation will discuss tactics and strategies for critique within the design school classroom that go beyond the archetypal “group crit,” and into innovative and unexpected ways of engaging students in critical dialog.
School of Design
Rochester Institute of Technology
Educating designers is a complex and layered process — a chaotic mixture of facts and opinions disseminated primarily through critical discourse. This presentation will discuss tactics and strategies for critique within the design school classroom that go beyond the archetypal “group crit,” and into innovative and unexpected ways of engaging students in critical dialog.
The AIGA “Designer of 2025” suggests that students need to learn a number of emerging competencies while attending design school, including working with complexity, understanding accountability for their design decisions, and embracing new forms of sense-making and dialog within their work. In addition to teaching the formal and methodological elements of design, educators need to make sure students have a clear understanding of why and how their design decisions resulted in work that accomplished its goal or missed the mark. This understanding primarily comes from critique.
Educators place a high value on critique, for many of us, it is how we spend the majority of our class time. Traditionally, critique has happened in a large group setting, with all members of the class and the instructor discussing each project one by one and offering feedback as a group. This method has value but is too often about social baggage and performance art, with the same handful of outgoing students doing most of the talking, drowning out students who are quieter or more anxious in large groups. This presentation asks a simple question: what are the most useful, most effective ways to give and receive feedback in the classroom? We have all had students we know are excellent thinkers but never speak in a large group critique — it may be time to move past the traditional models of feedback into other ways of helping students better understand what is happening within their work.
College of Computing and Digital Media
School of Design
College of Computing and Digital Media
School of Design
Educators are often frustrated with students’ constant attachment to their smartphones. But why do we assume the smartphone isn’t a creative tool akin to a pencil or brush—a simple way of seeing and interpreting the world around us?
As the world of design vacillates forever between the digital and analog, it’s imperative that students (and educators) understand an ever-expanding array of principles. In the words of Seymour Papert: “The role of the teacher is to create the conditions for invention rather than provide ready-made knowledge.” And as classroom content grows, the best thing we can teach students is how to be adaptive and curious thinkers.
Students can best embrace uncertainty and find comfort in a process of discovery by exploring and pushing the boundaries of the familiar. This is where the phone excels as a teaching tool. Analogous to the way a drawing teacher encourages mark-making with a branch or one’s foot, we can use a smartphone’s features in unintended ways that harness its power as a creative tool by altering our own expectations.
The smartphone is a device that most students have as an extension of their hand (though we must be vigilant of our own assumptions from privilege). Once students learn to use the smartphone in unintended and perceptively novel ways, they can extend this method to both past technologies and those yet to be imagined. By having students hack, make, and create in this manner, we are teaching them to think beyond the hand and machine, to the tool that has not yet been discovered.
Lastly, by exploring/investigating the capabilities of, and ever-present reliance upon our smartphones, we can raise awareness and open the classroom conversation to discuss ethical implications in design, including privilege, accessibility, inclusion, privacy and addiction.
Michele Damato McCaffrey
Department of Design
Michele Damato McCaffrey
Department of Design
How are students going to become empathic designers when they live and learn in a guarded design institution for four years? Can we develop courses/projects that encourage them to interact with communities outside of their own?
My work with students has shown they want to feel invested in their learning. Millennials are the most ethnically and racially diverse generation in the U.S. and are highly committed to social change. As design educators, we can use this information to tailor classes that will challenge them socially as citizens and designers so that they may have a deeper emotional connection to their work.
In my Experimental Typography Class, students are required to photograph the typographic signage/markings of an unknown neighborhood. For many, this may have been the first time visiting a neighborhood/culture significantly different from their own. Through typography only, the students designed a double-sided poster that communicates the culture and experience of that place. They come to understand how typography alone can reflect the ethnicity, culture, and socio-economic structure of a neighborhood. Though challenging and uncomfortable to some, students enjoy this project because they have the freedom to choose communities; take their own photography; spend time outside the boundaries and solitude of the classroom; and are in a new environment.
As a result, students often felt an investment and commitment to the neighborhood they chose to present. Not only did they fall in love with this new approach of discovering typography but also how they visually represented their story. Having students move outside of the classroom and interacting in new communities allowed them to (a) utilize their own strengths to develop their voice as designers and (b) raise their awareness of other communities as a first step toward becoming empathic and socially engaged citizens.
Associate Director of Art Direction and Industry Development
School of Advertising
Academy of Art University
San Francisco, California
Many, if not most Art Directors did not plan on being Art Directors as a kid. There are lots of reasons why. Chances are they were tacitly, if not actively discouraged by parents and guidance counselors, from pointing towards anything with the word art in the job title. This and media profiling, that in general, rank a career in advertising somewhere between becoming a politician and a used car salesperson.
That needs to change. More than ever, Art Directors today can be the driving force behind positive social impact and not just a client’s bottom line. College bound students need to know this. They need to be more exposed to the fact that creativity is a learnable and applicable skill – one that can be used on demand, to develop smart, compelling messaging that inspires meaningful change in the world.
Insights from experienced professionals have tremendous impact on young minds in search of a career path. This presentation provides a set of tools for influencers to encourage the next generation of Art Directors/Agents of Change. Perhaps actor Kevin Spacey said it best “If you’re lucky enough to have done well, then it’s your responsibility to send the elevator back down.”
In the fall of 2015, as the new faculty member at Merrimack College, I was thrust into this position. A cold dose of reality hit—my senior students’ work was, sadly, a mess. It was clear the design program needed to be rebuilt and renamed. Acting fast became necessary, because moving slowly would continue the problem. Both scalpel and sledgehammer were required (along with lots of coffee) delivering a newly redesigned BA Graphic Design program for approval and implementation by fall 2016. The program bridged both design thinking and making with the skill set of a Liberal Arts education.
The analysis started with the NASAD/AIGA analytical and consultative briefing papers. They were a good starting point, but they did not answer the question of how to build an expanded BA model responsibly? How elastic is the BA model? What beneficial Liberal Arts skills could be integrated into a graphic design student’s education? How could avenues be created for various types of students to be successful? And, where and how should professional engagement enter into the program?
This story begins by sharing methods for responsibly creating a “hybrid” BA model, keeping students’ best interests in mind, and honoring the industry’s professional standards. Topics to be shared include evaluating existing majors and minors; partnering with other majors and departments; which courses to keep vs. which should be thrown out; setting sizable goals for a 4-year BA graphic design program; ideas on future learning spaces and technology; and, understanding what is valuable in a 21st century graphic design education as the industry continues to evolve.
School of Design
Rochester Institute of Technology
My research focuses on the examination of form and methodology using darkroom photography techniques, specifically the photogram. Photograms use no cameras or lenses — instead, objects are placed on or near unexposed photographic paper and briefly exposed to light. This process results in abstract black and white compositions, which emerge unpredictably from the physical materials used in their creation. Control is relinquished, and instead intuition and chance allow form and structure to develop from the process.
This work closely parallels my visual design practice working in publication design, as well as my applied pedagogy teaching art and design students. My talk focuses on three concepts that this research explores: how to work with chaos and unpredictability, the usage and synthesis of materials and methods, and the exploitation of emergent process. My photogram work, my publication design work, and some of my classroom projects will be shown as examples of these ideas and how they manifest across different contexts.
Assistant Professor Communication Design
Myron E. Ullman, Jr. School of Design
University of Cincinnati
This presentation covers two implications for visual communication design education that stem from an action-centric view of screen-based interaction design. Brief excerpts of two student projects will be presented in support of the main theoretical argument. The premise, which will be taken for granted here, is that interaction can be accurately described in terms of action on malleable form. It follows from this that visual designers are well served by approaching screen based interaction design through the lens of information navigation, and that instructors can effectively constrain specific projects through action related variables.
The design of malleable screen form is predicated on basic human needs and entails unique but reoccurring communication design challenges. First, malleable form is not just an opportunity, it is a technical and human necessity—because digital devices can carry more information than they can display at once, their forms must be malleable. This also applies to screen-based control surfaces (e.g. a car dashboard) that have more functions than fit into a given rectangle. Second, malleable form entails the need to communicate the form’s malleability; as all screen form is malleable in some way, this communication need, or information navigation design problem, is very common. This makes it an appropriate foundation for studying interactivity in a visual design curriculum.
The action centric perspective also clarifies opportunities for defining project level constraints. An instructor can limit the kinds of forms allowed (type, photo, graphics, etc.), their capacity for transformation, and the kinds of input that affect these changes (clicks, swipes, drags, etc.). Such constraints can guide students into novel situations requiring thoughtful problem solving as opposed to interface convention regurgitation. Constraints can also be tailored to fit different prototyping technologies so that students can explore the limits of their materials while simultaneously engaging in human-centered problem solving.
Michael Graves College, Kean University
To help people master Canon’s capabilities, 360i in partnership with Canon “set out to create a classroom experience in the field.” With Canon Photo Coach, 360i helped photo enthusiasts take the kind of photos they hoped for. 360i “used social listening to find New York City’s most photographed areas and then placed billboards right where people were taking those photos.” They created smart billboards—digital screens and trucks equipped with giant monitors that tapped into API data such as light, weather, time, traffic, location and events—giving real-time tips to photographers right when they needed them. This solution is neither conventional advertising nor graphic design.
Interactive public screens. Mobile design. Social media design. Environmental experiences. From any consumer’s point of view, brand experiences have been converging. However some design courses remain in pre-digital era silos.
Moira Cullen, Coca-Cola’s former design director, once said our profession could no longer tolerate thinking in silos. Yet we’re still divided in departments, in the classroom, and in our own brains. Contemporary visual communication problems demand new types of pedagogy.
To effectively address dealing with this convergence, I have been abolishing graphic design and advertising categories (and some conventions) in the classroom. Getting my students to think of visual communication as value-added experiences is my approach. I do this by asking students to consider the following questions when critiquing their own concepts.
- What benefit does your concept offer people?
- Is there any social good you can promote while promoting a brand?
- Can a design or advertising solution be in the form of entertainment, a product, service, or utility?
As a result, my students have secured coveted internships and jobs with New York City agencies and studios. It’s time to embrace integrated ways to teach in the age of convergence.