International Journal of Art & Design Education最新文献

This article argues for a reconceptualisation of early childhood education, where learning and development are not only valued by outcome, and aims to investigate how aesthetic processes are organised in ways for the children to be inspired, to compare, explore, and play. Inspired by a Vygotsky perspective and his theories of play, imagination, and creativity, the article argues for developmental perspectives where transformation is driven by different kinds of experiences that lead to sustained change and not a one-sided passing of instructions from teacher to child. Drawing on ethnographic material from a qualitative research project implemented in Danish daycares, where an artist visited over a 3-month period, shows specific patterns in how the children are engaging in aesthetic processes and multiple ways that joint activities inspire the children to play. The research reveals new insights into the relationship between aesthetic processes and play, as it facilitates the exploration of not only the many layers of aesthetics but also how participation in joint activities enables the aesthetic process to become a cultural frame of reference that is used in Play.

The paradigm of design must drastically change to promote sustainable social development that considers not only economic growth but also human well-being and environmental sustainability. Some scholars argue that the central paradigm of design should focus more on the societal perspective. This article refers to such a socially oriented design approach as design for social innovation (DfSI). Our study identified key insights for designing and promoting a DfSI education programme by investigating and analysing a Japanese pilot case, the Design School at National Institute of Advanced Industrial Science and Technology (AIST-DS). Based on an analysis of in-depth interviews that we conducted with the AIST-DS programme managers and learners, we clarified the effectiveness and challenges of the programme. Furthermore, this article presents relevant design considerations for better planning and promotion of the DfSI education programme. Our case study findings are derived from a deep and detailed analysis, with practical implications for educators and researchers. Simultaneously, from an academic perspective, we hope that these findings will constitute a foothold for accumulating knowledge on DfSI education in the future.

This study examines the history of craft education, especially in the context of social and temporal changes, and envisions its future based on narratives collected by student teachers at two Finnish universities. The research material covers essay responses that discussed the future of craft education in the light of forecasted megatrends. The essay responses were analysed using narrative methods, and the results are presented as visions of the priorities and content of future craft education. While craft teaching today emphasises technology, well-being and communal living, the growth of digitality, sustainable education and materiality is likely to continue in the future. We envision that future craft education will focus on pedagogical content rooted in craft traditions, with a strong emphasis on skills education.

Cultural creative design activity and education involve the application of cultural inspiration. This study examines the impact of cultural inspiration distance and timing on designer’ creativity in Targeted Cultural Creative Design Pattern (TCCDP). Four design novice groups attended the cultural product design experiment with a combination of distance (far or near-cultural inspiration) and timing (receiving inspiration at the beginning or during design). Each participant produced multiple ideas and one final concept based on a given product theme. The results showed an Interaction Effect between distance and timing on idea quantity, with timing having a greater impact on far-cultural inspiration (FCI) than near-cultural inspiration (NCI). Exposure to FCI generated the most ideas at the beginning, while during design, the opposite was observed. Exposure to NCI generated a similar idea quantity in both timing. Distance displayed a Main Effect on concept quality, with exposure to NCI achieving higher quality (novelty; feasibility) final concept than exposure to FCI. It was also found that generating more ideas did not necessarily result in higher quality; a more effective strategy might generate a small number of ideas (about 5), and subsequently deepening and optimising the ideas. These findings are helpful to understand the role of cultural inspiration in cultural creative design education and practice.

Design education includes many pursuits that deal with creativity, thinking and visual communication techniques in the learning process. This study aims to create a participatory learning algorithm based on a location, while measuring the spatial impact through an emergent situation. The exemplified issue is determined as fire that emerged due to climate change, which has become a significant agenda of the 21st century in most countries. The scope of the study is based on the creation of an algorithm for participatory learning techniques by using social media to create digital infographics in a workshop redefining Mugla, an affected place after the fire. The workshop context is designed to reveal the interaction between humankind and its natural environment, including nature, topography, animals, aids and all actors affected after the fire, while students are involved in research practices on participatory learning, using the diary method as a pedagogical research tool. The outputs of the participatory learning algorithm examine the informative part of the produced digital infographics with ethnomethodology and the visual part with descriptive analysis as a hybrid methodology taking data materials from social media. Cumulative results that reflect the location-based spatial impact are measured with a coding system of frequencies and a time-series data of polar mapping. We propose that such a participatory learning algorithm can improve students' visual communication, design creation, visualisation, expression of ideas and organisation of knowledge skills with the discipline of working together to make multilayered spatial readings.

Art teachers straddle two identities those of a teacher and those of an artist. While these two identities may complement each other it is clear that, particularly for elementary art teachers, they are often in conflict. As art teachers look towards balancing this dichotomy, they must discover what is necessary to equalise and maintain both their teaching and artistic identities. This self-study offers the practical reflections of three elementary art teachers to identify some trends and connections between developing teacher identities and the strategies they use to maintain an artistic identity. Discovering how elementary art teachers prioritise their own artistic practice shows us that as they balance both identities, they can gain energy and inspiration from their practice while at the same time allowing their students to benefit from their deeper understanding of the art world.

Children alter their drawings in multiple ways depending on whether they are drawing happy, sad or mixed happy and sad experiences. However, their explanations of why they may use features to show emotions may be overlooked in interpretation. The present study therefore used the Draw–Write–Tell paradigm which integrates children's explanations of feature use to explore children's drawn representations of mixed emotional experiences. 92 (42 boys, 50 girls) children between the ages of 6–8 years (6 years 4 months–7 years 11 months, M = 7 years 2 months, SD = 3 months) were recruited on the basis of age from mainstream schools across the South East and South West of the UK. Children were allocated to one of two conditions hearing either a vignette about themselves (n = 46, 22 girls) or another age and gender matched child (n = 47, 27 girls). Following a mixed emotion presence interview, all children competed the Draw–Write–Tell process. Eleven themes of how children explained how they drew mixed emotion experiences emerged following an exhaustive thematic analysis indicating individual, prosocial and cultural influences on their drawing choices. The importance of using this approach when interpreting children's drawings of emotional experiences is discussed.

This article describes the motivation, aims, and consequent processes involved in designing an engaging and informative animated educational video that explains the historical exploitation of the Mount Dagushan iron ore mine in China. The mine is recognised as the deepest in China. It has been the source of raw material for the Anshan Steel Factory, which is now formally acknowledged as a significant example of heritage architecture. The effectiveness of an animated video created by the authors, regarding knowledge and appreciation of industrial heritage, has been investigated through user testing of early primary school students (grades one to six). The research presented here reports on the success of instructional design using digital storytelling as an animated video in conveying knowledge of industrial heritage, and its associated cultural and societal influences. This has included gathering primary education students' feedback and opinions in China through a survey. The research aims to illustrate how Industrial Heritage education can foster engagement in, and awareness of, important connected histories.

In South Korea, the National Curriculum and textbooks, especially within design education, are closely intertwined. The Curriculum is critical in establishing educational goals and standards for each subject, acting as a blueprint for schooling. Textbooks, which must be approved, are designed to align with this Curriculum. This article introduces new content for design textbooks guided by the 2022 Curriculum revisions, highlighting the importance of using design to solve real-world problems and the potential for interdisciplinary collaboration. Consequently, this article puts forth the following proposed content to be included in the forthcoming design textbook: recognising and appreciating exemplary design in everyday life, acquiring diverse knowledge to foster creative problem-solving skills, and comprehending the significance of design for all individuals.

The advancement of generative artificial intelligence (AI) presents innovative opportunities and new challenges across various industries and academic fields. Particularly, recent advancements in generative AI, which can create images from text, are introducing new challenges in the field of graphic design education. This study discusses methods of graphic design education utilising generative AI, based on workshops conducted in the "Visual Culture and Contemporary Art" course in the first semester of 2023. Students utilised generative AI, such as Midjourney and DALL-E, based on the "Technology Pedagogical Content Knowledge (TPCACK)" model, to create posters depicting European design history. Through the analysis of case studies and survey results, researchers confirmed that graphic design education in the era of generative AI requires different educational goals and methods from those of traditional education. Students require AI visual literacy skills to accurately convey images using suitable keywords. Additionally, it was discovered that preliminary design processes such as trend analysis and research have become more crucial. Additionally, educators should provide students with opportunities to derive creative keywords through graphic storytelling and present a vision as content creators who combine science, art, and technology. This research provides guidelines for the roles of graphic designers and the direction of visual design education in the era of generative AI.