Graphic Design & Visual Art

Using Educational Research Results To Improve Graphics For Instructional Material

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Graphic Design & Visual Art

Graphic designers and illustrators intuitively believe that their graphic embellishments such as pictures, photographs and graphics will aid a learner when they use instructional material. The results of empirical studies however indicate that graphic embellishments have a limited effect and only contribute to learning under very specific conditions.

Nurturing The Personal And The Intuitive In The Design Studio

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Graphic Design & Visual Art

The design process, like all creative activities, involves both rational aspects and other less easily-explicable non-rational aspects, such as the roles of intuition, imagination and personal insight. There are therefore different ways of knowing and learning involved in teaching design.

Negating the Serif: Postcolonial Approaches toTypeface Design

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Graphic Design & Visual Art

The practice and the teaching of Typography in South Africa has yet to undergo radical or substantive changes in light of the multiple shifts and developments in critical thinking that has taken place in Academia and contemporary visual practice in recent years. While contemporaneous thinking has “ forced a change “ in many disciplines in light of the Postmodern, Post Colonial and other “Post” posturing that challenge the dominance of Europe and the West as the centre, very little of the core imperatives of these schools of thought has found its way into the development and thinking around Typography in South Africa save a few seminal books and teachers.

Making Space For Identity, Diversity And Voice In A Transcultural Visual Arts Community Of Practice

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Graphic Design & Visual Art

There is national and institutional pressure to transform education, to revisit curriculums and approaches to teaching and learning and to address issues around dominant worldviews, inclusiveness and diversity. Visual arts lecturer practitioners, like other academics, are being challenged to respond.

We know that the students entering our programmes, in all their growing diversity, provide new challenges, bringing with them as they do different and often complex social, cultural and familial identities, some of which they leave, wittingly or unwittingly, willingly or unwillingly, at the door, as they look to conform to the expectations of the disciplinary communities.

The Use of Technical Drawing Methods to Generate 3-D Form

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Graphic Design & Visual Art

Generally speaking technical drawing methods e.g. isometric and orthographic views are used for presentation of form and design idea. Systematically used these methods can yield fantastic results serving as a tool in the form and design generation / development process. In various product domains, especially where sheer aesthetic appeal or plurality of form is more important than functionality or utility; development of form family, variations on theme, etc. are the main design activity. This way of working will serve as an effective tool in cases where the design development process is confined mostly to the paperwork only but the product demands or has a scope for 3-Dimensional thinking e.g. industrial jewelry design.

Towards a new Master’s Degree in Graphic Design for the Durban University of Technology.

Author
Carey, Piers

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Graphic Design & Visual Art

This presentation will report on progress made in the development of a new Master’s degree structure in Graphic Design at the Durban University of Technology.

The Future of Written Text in Art & Design Education

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Graphic Design & Visual Art

The predominant focus of contemporary Art and Design education is visual, rather than written, communication. This paper explores recent shifts in Art and Design curricula, which have brought students’ engagement with the written word to a bare minimum. Drawing on my recent experience teaching at Central Saint Martins College of Art and Design (CSM), Winchester School of Art, University of Southampton (WSA) and the Rhode Island School of Design (RISD), I will discuss how the written word may begin to take up a more productive place in Art and Design teaching.

 

Lebanese Graphic Design, a Homogeneous Hybrid

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Graphic Design & Visual Art

We hear of “Swiss Graphic Design”, “American Graphic Design”, “Dutch Graphic Design”, “Tokyo Graphics”, … but no such thing as a Lebanese school of Design. Lebanese graphic design today is an amalgam of various influences, carried along in the educational baggage of academia and faculty teaching this discipline in the various universities across the country.

Ideas for Integrating Sustainability into Graphic Design Pedagogy: American Case Studies

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Graphic Design & Visual Art

This Article provides an initial overview of the professional graphic designers’ negative environmental impact and why their method of design for planned obsolescence must change. It argues thereafter that the American university graphic design curriculum should evolve to include an initial discussion of sustainability through a required studio design course on the topic.

Other Wise: Towards a Meeting of Graphic Design and Indigenous Knowledge

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Graphic Design & Visual Art

This paper will discuss selected issues of transformation and Graphic Design education at the Department of Graphic Design, Durban University of Technology (DUT), and draw preliminary conclusions from recent research. It will begin by discussing the context in which both transformation and Graphic Design education take place at this institution, particularly with regard to the pressures of Globalisation.

It will then discuss certain problems of the relationship between Graphic Design and Indigenous Knowledge, and suggest some methodologies derived from recent projects in our department, as possible ways forward. The Indigenous Knowledge of the amaZulu people is the source consulted in this case.

Terra Incognita: Mapping a Regional Design History in South Africa

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Graphic Design & Visual Art

The paper will start by discussing some aspects of the state of History of Graphic Design. These will include approaches to teaching the subject, the place of research at Technikons, and then, particularly, the question of African content in the discipline. This will refer to historical rather than contemporary material.

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