Graphic Design Program Research Articles

Teaching Graphic Design for undergraduate students in Vietnam: a curriculum analysis

IntroductionThe present study aims to examine the effects of autonomy policies implemented after 2014 on the undergraduate education of Graphic Design in Vietnam. The focus is on how these policies have influenced the transition of curricular content from traditional print-based principles to modern digital design methodologies.MethodsThis study employs a targeted analysis of specialized knowledge courses within Graphic Design programs, tracing their progression from conventional design principles for the print medium to modern digital design principles. It includes a comprehensive examination of curricular adjustments made in response to the evolving digital landscape.ResultsThe analysis reveals a significant shift in the curriculum post-2014, from focusing predominantly on traditional design concepts such as typography, layout, and color theory to embracing digital design principles suitable for online platforms. These include responsive design, user experience/user interface, motion graphics, and animation. Empirical data presented in the study highlights the profound impact of increased institutional autonomy on this transformation.DiscussionThe transition to digital platforms marks a substantial development in Graphic Design education, aligning with the growing acceptance of interdisciplinary methodologies. The study discusses how these curricular changes are a direct response to the dynamic requirements of contemporary design practice, characterized by digital technology’s pervasive influence, interactivity, and sustainability considerations. The results emphasize the importance of adapting Graphic Design education to meet the demands of the modern industry, ensuring that graduates are well-equipped to thrive in the digital age.

Methods of Teaching Graphic Design in HEIs for Art

Under the conditions of digitalization in technology and art, there is a sense of significant changes in visual creativity, where design projects are given not only new artistic expressiveness, but everything becomes an immeasurable resource base and source of inspiration for future graphic designers. This new reality encourages the permanent updating of approaches and the use of innovative methods of teaching graphic design in HEIs for art in the process of preparing for the professional activity of a future graphic designer. Therefore, a modern graphic designer, being the creator of a demanded graphic product that meets the requirements of business and clients, must have a sense of style, and artistic taste, track new trends in graphic design, be versed in styles, be creative, able to create original innovative design projects, have technical knowledge and computer programs, etc. The research aims to establish a pattern of promoting the use of differentiated methods of teaching graphic design in higher education institutions for art. The goal can be achieved by surveying higher education students on the Internet to determine the ability of HEIs for art to apply effective methods of teaching graphic design. Research methods: comparative analysis; systematization; generalization; survey. Results. The survey among higher education students found that online graphic design platforms such as Canva (98.3%), Pixlr (94.1%), Design Wizard (93.8%), Visme (92.4%), Snappa (89.8%), BeFunky (89.2%), etc. contribute to the formation of professional skills in the field of graphic design. It has been found that the following graphic design programs on PCs, namely Adobe Photoshop (95.5%), Affinity Designer (95.3%), Gravit Designer (91.5%), Adobe InDesign (89.9%), Adobe Illustrator (89.5%), best contribute to the formation of professional skills in future graphic designers. It has been determined that 3D graphic design programs such as Paint3D (91.9%), Autodesk Maya (89%), Sumo3D (87.9%), Blender (85.7%), Autodesk 3ds Max (83.3%), ZBrush (81.5%), etc. are the most conducive to the formation of professional skills. The study has revealed which methods of teaching graphic design in HEIs for art are used by teachers. These include innovative methods (91.8%), the method of graphic modeling (89.8%), the method of observation and independent reproduction of certain artistic images through graphic design (87.3%), the method of graphic illustration (86.2%), the method of projective and graphic form finding (81%), etc. It has been established that the successful implementation of differentiated methods of teaching graphic design in HEIs for art contributes to the formation of skills in using modern computer graphics programs to create design objects (91.2%), the ability to use basic skills in project graphics (89.3%), the ability to know color science to create a coloristic solution for a future design object (89%), etc.

DEL DESARROLLO DE MODELOS BIM HACIA LA REALIDAD EXTENDIDA APLICADA AL SECTOR DE LA EDIFICACIÓN

Today, the traditional method of designing buildings by means of 2D or 3D drawings, using graphic design programs, is insufficient. The increasing complexity of the construction process requires an effective exchange of information between all the agents involved in the process.

Enseñanza y aprendizaje del Diseño Gráfico desde el paradigma de la complejidad

Within the framework of education, many necessary components are promulgated to respond to the requirements requested by government entities. Therefore, institutions must adjust their policies and institutional plans so that they increasingly articulate these postulates and can guarantee an education with quality and in constant improvement. The pedagogical models created and articulated in educational institutions, in preschool, elementary, secondary, middle and higher education, play a fundamental role, since this represents the formal information of how is taught and learned in each educational institution. The model includes: the role of the actors in the teaching and learning process; teachers and students, the curricular approach, purposes of the training process, learning strategies, evaluation, and other relevant aspects to fulfill the mission and vision of the university. The following article presents an analysis and description of the relationship between the institutional pedagogical model proposed by the University of Boyacá, which is based on the complex thinking of Edgar Morin and the teaching and learning process during classes in the area projector workshop of the academic program of Graphic Design. This study was developed from a qualitative methodological process, under a holistic research approach. The descriptive and analytical phase was worked through the collection of information by means of instruments such as non-participant observation, field diary, surveys and interviews directed to students and teachers, records of workshop classes, reading of primary sources and contrast of formal institutional documents and those of the program and the university. Two softwares were used for the analysis and description of all the information, the first one was Atlas.ti 8.0 to identify in the interviews applied to the students and the teachers, codes in vivo (codes that are generated literally from expressions of the informants) or abstract (code that represents a theoretical postulate or experience exposed by the informants). Subsequently, the SPSS (Statistical Package for the Social Sciences) software was used to tabulate and systematize all the information collected in the surveys applied to teachers and students. According to the methodology developed and seeing it from the epistemological perspectives in relation to the nature of the research, finally the study showed that the institutional pedagogical model is partially articulated to the teaching and learning processes of the Graphic Design program. This is shown in practical workshops and it has permeated the students since their initial training and the other part of the training process, thus seeking to respond to the purposes of the Institutional Educational Projects of the University of Boyacá. Finally, the study concludes that the teaching of design seen from the paradigm of complexity contributes significantly to the learning process, since positive characteristics were evidenced that contribute significantly to the training of future designers. For example, letting students confront uncertainty processes from the academy through different exercises prepares them for any problem that may arise in their working life, where real contexts and environments will be involved. Design should look for possible solutions from the graphic discipline. Likewise, it is important to keep in mind that the designer not only generates beautiful pieces, but is a subject that is related to the visual problems of context and society, therefore it was also observed that students act as integral human beings and not only with purely professional aspects. https://doi.org/10.16888/interd.2023.40.1.18

Project-Based Learning Case Studied Model to Improving Learner Skills on Industry Revolution 4.0

There is a gap in visual programming Learning that could be more optimal and has been unable to improve 4th- century competencies. This study aims to develop a visual programming Learning model in vocational education that can improve students' Learning abilities. This type of research is Research and Development, which refers to the ADDIE model. The subjects involved in the limited trial of the PJBL-CS model were 15 lecturers and 25 students. The trial subjects were expanded to include 110 respondents in the fourth semester of the graphic design program. Data collection will be carried out using a questionnaire. The analysis technique used the Aiken'V test, and the validity used the expert test and Focus Group Discussion (FGD). The normality test of the data distribution was carried out using Kolrnogorov Srnirnov statistics. According to experts, the result of the study is models, and support systems meet the validity standards, are based on research and development models, and are acceptable for implementation. The model that is made reliable, gets an average of 86.67 points from lecturers and 86.00 points from students. Research has produced a Case Study Project-Based Learning Model that provides opportunities for students to think critically and creatively, collaborate, and communicate well, which can learn anytime, anywhere, forming students to study independently and creating connected Learning between students and lecturers.

The Place and Importance of Op Art In Graphic Design Education With Its Interdisciplinary Art Education

Purpose: The aim of the research is to reveal graphically the convertibility of the Op Art movement into graphic design studies by students and how this transformation is interpreted. Methodology: In this study, the ‘Op Art’ movement from Contemporary Art was preferred as an imaginary resource in graphic design education. The research was conducted in the form of action research, one of the qualitative research methods. The research is characterized as participatory action research, one of the types of action research. The research is limited to the 2nd year students studying at Kastamonu University Kastamonu Vocational School Design Department Graphic Design Program in 2016-2017, 2017-2018, and 2018-2019. The study was conducted with 458 students who took ‘Visual Design, Publication Graphics and Typography’ courses between in the specified academic years. Since it is not possible to include all student studies, 6 student studies have been included as an example. Student studies were analyzed descriptively. Findings: As a result of the study, it was observed that the students were able to transform the Op Art movement into graphic design products, to interpret different types of works from a subjective point of view by considering the characteristics of the movement, and to create original graphic design works suitable for the composition they wanted to design. Highlights: Contemporary Art, which is covered in the chronology of art history, emerges as one of the most fundamental disciplines in art and design theoretically. It is very important to benefit from different disciplines in graphic design education, to increase the interest in design courses, and to reveal original and creative designs. From this standpoint, it can be assumed that Contemporary Art can be one of the richest resources to be used in terms of art and design. In this study, Op Art art movement, one of the Contemporary Art movements, was used in terms of creating a resource for graphic design education courses.

EXECUTIVE OPINIONS ON GRAPHIC DESIGNER COMPETENCIES

Graphic design is a discipline that is constantly growing, developing and expanding the demand rate in the market in parallel with developments in technological fields. This growth and rapid development in the sector also brings some problems in terms of design. Working in the sector, agency managers and graphic designer experienced many problems with the demands of advertisers is known. It is observed that in some cases these problems are evaluated concurrently proficiency. In this study, ad agency executives, vocational schools graduate from graphic design programs designers, compilation of views on their professional competences and it is intended to be analyzed. This research is a descriptive study in general scanning model. A survey of 15 questions developed by researchers was applied to the managers of 58 advertising agencies serving in advertising in Ankara province, and the results were reached as a result of those given manually at the end of the survey. From the findings, administrators of the vocational school graduated from Graphic Design Department of the advertising agency, and are finding indicates that inadequate in many ways from a professional perspective. This research is relevant for educational institutions to analyze the demands of the sector, to make suggestions for new programs that can produce solutions to problems is important Keywords: Graphic design, vocational schools, advertising agencies, professional qualification

Three Dimensional Printers and Their Usage

Developing technology appears as a dynamic fact in all fields which may increase the quality of life and widen the comfort zone of people in the world we live in. This dynamism leads people to constant development, change and innovation. The innovative and entrepreneurial characteristic of humans is an undeniable reality. Three-dimensional printing technologies have started to gain an important place in our lives thanks to their condition caused by entrepreneurship.Three-dimensional printing operation is the acquisition phase of three-dimensional concrete and solid objects from a three-dimensional file prepared in computer environment through different graphic design programs.

Artistic Applications of Nanotechnology as an Approach for Teaching Graphic Design at Umm Al-Qura University

is to identify the plastic concepts of nanotechnology to be included in the graphic design programs in the Department of Technical Education at Um al-Qura University, by identifying the role of nano values added in raising the plastic performance of the outputs of design courses, to develop an existing proposed program to determine the role of the plastic applications of nanotechnology concepts in enhancing design areas.

Preferential Screen Resolution Setting in Adobe Photoshop for Actual Motif Print Sizes in Textile Design

The use of Adobe Photoshop, a graphic design software, as a tool in textile designing has come to stay. There are numerous advantages derived from this software in textile designing, even though it is a graphic design program. Despite the numerous design advantages, the software presents technical constraints to textile design students and beginners in its visual representation of motif and texture pattern sizes. This problem of screen resolution settings affected the actual view of motif print sizes and texture patterns when printed in hard copy in relation to the soft copy for screen development. Furthermore, it affects design details during colour separation, screen copying and developing, and printing. The study employed the practiced-led research method in its approach to explore the possibilities of finding preferential screen resolution settings suitable for textile designing in Adobe Photoshop. The study revealed adjustments or modifications of the view-preferential settings of the program to ascertain the required screen resolution settings for textile motif and texture pattern sizes. This revelation bridged the visual differences between the soft copy and hard copy sizes of motif and texture pattern during and after designing. The research recommends that textile design students and beginners, as a prerequisite, adjust the view-preferential settings of Adobe Photoshop to obtain accurate motif and texture pattern sizes during and after designing.

EVALUATION OF GRAPHIC DESIGN PROJECT COURSES THROUGH FACE TO FACE EDUCATION AND DISTANCE LEARNING

Tüm dünyada yaşanan salgın hastalık süreci eğitim sistemini de etkilemiştir. Bu çalışmada, Başkent Üniversitesi, Güzel Sanatlar Tasarım ve Mimarlık Fakültesi, Görsel Sanatlar ve Tasarım Bölümü, Grafik Tasarımı Programı 2019-2020 Akademik Yılı Güz Dönemi’nde yüz yüze gerçekleştirilmiş GRA427 Grafik Tasarım proje V dersi ile 2019-2020 Akademik Yılı Bahar Dönemi’nde bu dersin devamı olan çevrimiçi gerçekleştirilmiş GRA428 Grafik Tasarım Proje VI derslerinde tasarlanan projelerin iki farklı eğitim sürecinde karşılaştırmaları yapılıp, yüz yüze ve uzaktan eğitim süreçlerinin grafik tasarım alanındaki etkilerinin araştırılması hedeflenmektedir. Araştırmada, nicel araştırma yöntemlerinden ilişkisel tarama modeli kullanılmıştır. Araştırma grubunu yüz yüze yürütülen Proje V ve uzaktan eğitim ile gerçekleştirilen Proje VI dersine devam eden 20 öğrenci oluşturmuştur. Araştırma sonucunda, yüz yüze eğitimin öğrencilerin sosyalleşmesi ve motivasyonunda daha etkili olduğu, proje üretme aşamasında ders öğretim elemanının anlık yönlendirmelerinin daha güçlü hissedildiği, uzaktan eğitimde ise devam edilemeyen derslerin canlı ders kayıtları ile izlenebilme imkânın olduğu, çevrimiçi dönem sonu ders sergilerinin yoğun izleyici kitlesine sunulabildiği olumlu noktalar olarak ortaya çıkmış; yüz yüze proje dersinde derse gelemeyen öğrencilerin aynı dersi izleme olanağının olmadığı, zaman kullanımı ve maddi harcamanın daha fazla olduğu, uzaktan eğitimde ise sosyalleşme ve motivasyonun daha zayıf olduğu, öğrenci konsantrasyonunun da daha kısa sürede dağıldığı sonuçları ortaya çıkmıştır.

Estilos de aprendizaje: estrategias de enseñanza en LUZ

The development of the future professional graphic design requires the constant use of didactic and financial resources for learning, the product of a growing market and with greater demands due to global growth. This directs the way to the use of teaching strategies in correspondence with the style of student learning that strengthen their potentialities. The objective is to evaluate the learning styles present in the students assigned to the Graphic Design program of FADLUZ, to generate teaching and motivational strategies that stimulate their learning. A descriptive and field research was considered, the sample consisted of 59 Students active and enrolled in the curricular units of the Instrumental Axis of the Graphic Design Program of the FADLUZ who were administered the Kolb Learning Styles Inventory of 1985 through a form in Google Form. Most students learn using Reflective Observation (OR) and are inclined primarily to two learning styles. The Assimilator with 51% followed by Divergent with 32% identified that the trend is towards a more balanced learning. To conclude that the identification of the type of learning style in Graphic Design students does not lead to a particular type of active teaching strategy, even though efforts can be focused on the design of activities, selection of educational material, presenting information, creating or not working groups and modifying the aspects to be evaluated. It is important for the student to identify their learning style to strengthen their training process. Likewise, motivation should be fostered that fosters the interest to learn, without neglecting the fact of knowing what strategies can be implemented according to the style of learning.

PELATIHAN PENINGKATAN KEAHLIAN PROGRAM PERANCANGAN DESAIN GRAFIS DI CLAY PHOTO DAN CINEMA PALEMBANG

Pelatihan peningkatan keahlian program perancangan desain grafis dengan pemanfaatan program Adobe Photoshop, Illustrator dan Premiere bertujuan untuk memberikan ketrampilan dalam pembuatan desain grafis yang menarik. Penguasaan kemampuan perancangan media iklan elektronik dengan aplikasi media sosial (medsos) yang dikuasai oleh sumber daya manusia program desain grafis oleh para desainer grafis diharapkan akan memicu minat untuk lebih bersemangat dalam mengembangkan kemampuan, dan pada akhirnya meningkatkan kualitas perancangan desain grafis digital secara keseluruhan. Metode yang diterapkan dalam kegiatan ini adalah metode presentasi mengenai pengenalan software, kemanfaataannya, dan penerapannya dalam pembuatan media pembelajaran interaktif, metode workshop/demonstrasi mengenai pengoperasionalisasian program dan metode praktik yaitu pembuatan secara teknis tip dan trik secara langsung bagi peserta sesuai dengan sub kerja masing-masing dengan pemanfaatan program-program Adobe. Metode evaluasi dengan mengamati perbedaan kemampuan desainer sebelum dan setelah pelatihan. Hasil yang dicapai terjadi peningkatan kemampuan kreatif dan artistik. Evaluasi hasil dilihat dari penilaian tugas praktik yang menggambarkan keberhasilan materi yang telah disajikan. Selain itu juga dicermati kinerja dan partisipasi para peserta.

La ambivalencia de la escritura académica entre los profesores de diseño

En contextos universitarios, la escritura académica se constituye como la vía válida para producir conocimiento, por lo que el diseño puede ver amenazadas sus prácticas basadas en un lenguaje visual, donde la escritura cumple un papel auxiliar. Mediante el enfoque de la alfabetización académica, interesado en estudiar qué cuenta como conocimiento y quién tiene autoridad para producirlo, el objetivo de este artículo consiste en analizar cómo el diseño se alinea, adapta o resiste al discurso hegemónico de la escritura académica. A partir de dicho enfoque, se reportan los resultados de una investigación exploratoria de las representaciones de once profesores universitarios de diseño sobre la escritura académica. Mediante un estudio de caso con profesores que trabajan en programas de estudio de arquitectura, diseño gráfico, diseño industrial y diseño urbano se analizaron temáticamente entrevistas para identificar los significados implícitos sobre tres relaciones específicas: escritura/lectura, escritura/perfil de los alumnos y escritura/campo profesional. Entre los principales hallazgos, se descubrieron posturas ambivalentes: unas veces, los profesores se adscribían al discurso dominante de la escritura académica y, otras, manifestaban la casi nula relevancia de la escritura en la adquisición de conductas expertas del diseño. Se discute que esta ambivalencia se origina en los discursos de poder y autoridad: la escritura académica enfatiza la idea de que quienes producen conocimiento necesariamente escriben y excluye otras posibilidades presentes en disciplinas como el diseño, donde las comunidades de práctica determinan qué cuenta como conocimiento a partir de procesos no fundamentados en la escritura.

MODA TASARIMI, GRAFİK TASARIMI VE GİYİM ÜRETİM TEKNOLOJİSİ PROGRAMI ÖĞRENCİLERİNİN MESLEKİ TERCİHLERİNİ ETKİLEYEN ETMENLER: DENİZLİ TEKNİK BİLİMLER MYO ÖRNEĞİ

Vocational Schools are important educational institutions aimed at raising qualified intermediate staff. The choice of profession is the most important decision-making process that directs the lives of the individual. Many factors can be a factor in the decision-making process in the selection process of individuals. It is also important that individuals who are trained in a specific area, which is expressed as an infrastructure, look at the selection of profession related to their field. Research; The fashion design, graphic design and clothing production technology program is planned and conducted with the aim of determining the factors affecting the professional preferences of the students, their perspectives on their profession and their views on the future of the profession. In the acquisition of the data, the investigation technique was utilized and a questionnaire containing questions about the subject was used. By random sampling method Pamukkale University Denizli Technical Sciences Vocational School, Fashion Design, Graphic Design and Clothing Production Technology Program, 807 students enrolled between 2012-2017 were included in the research. The obtained data were evaluated in SPSS 17 for Windows program.

Integrated package design: an interdisciplinary approach to package design that benefits consumer experience and brand perception

It is perplexing that Package Design has traditionally been taught as a course isolated in either Graphic or Industrial Design programs. To develop a truly unified brand narrative, package design n...

The design classroom as a scenario of exploration between visual literacy and critical thinking

Some of the results obtained in the research project Photography as a medium for the development of visual literacy, in which different strategies were analyzed to enhance the development of visual literacy and critical thinking in students of the graphic design program of the Universidad Autonoma de Aguascalientes (Mexico), are shared in this article. Visual literacy refers to the ability people have for interpreting and generating images from the study of the components that constitute visual language, a competence that is a fundamental input in the practices within the design classrooms thus becoming a relevant item for the research and the qualification of design professionals. The article shows one of the laboratories implemented where the third-year students of the Graphic Design program, after reading the chapter The Medium is the Message by Marshall McLuhan, visualized one of the concepts of the text. The image that was hosted on a virtual platform for discussion in class. Among the findings, the reader will know the synthesis of the analysis of four of the 27 images made which allows appreciating, among other things, that students need to develop argumentative skills related to the principles of critical thinking. In addition, in their projective exercise, the interpretation of concepts must be consistent with the active values of their environment, which enables the generation of products that meet the contextual requirements. As a conclusion, it is established that reflective decoding proper to visual literacy and procedures of interpretation and representation of knowledge, inherent in critical thinking, should be assumed as teaching-learning strategies in the courses that form the curriculum of the Graphic Design Bachelor's degree.

From Art to Business (and Back)

ABSTRACTGraphic design programs situated in large research universities have unprecedented opportunities for research collaborations, in particular with the disciplines of business and engineering. For decades, the graphic design program at Oregon State University was situated within a traditional art department, but in 2011 the program migrated to the College of Business. For four years, graphic design students and faculty were part of the College of Business. In July of 2016, the program migrated back to a new School of Arts and Communication within the College of Liberal Arts. This article summarizes the challenges of this process, and poses questions about the changes in design education.

EKSISTENSI KARYA SENI RUPA POTRET AGUS SUWAGE TAHUN 1995 - 2009

This research entitled “Existence of Portrait Fine Arts by Agus Suwage in 1995-2009” by Much Sofwan Zarkasi was proposed to know and describe existence of portrait fine arts by Agus Suwage in 1995-2009 that included its birth, aesthetic, and effect for fine arts development in Indonesia. This research used criticism for holistic arts approach which presented three components as information source like artist as source of genetic information, work art as source of objective information and audience as source of affective information. This research resulted in: first, portrait fine arts by Agus Suwage in 1995-2009 were born from process of social and symbolic interaction that Agus Suwage passed. His portrait as subject matter in his portrait fine arts has been solution for seeking form which represented his interest and response to humanity topic freely and intimately according to his personal meaning. Then his portrait fine arts has been developed his popularity in fine arts field, either national or international. Second, portrait fine arts by Agus Suwage in 1995-2009 provided a dynamic fine arts aesthetic with self-portrait and idol figure as his subject matter. Aesthetic in portrait fine arts by Agus Suwage in 1995-2009 was influenced indirectly by his academic experience at graphic design program which is full of symbolic form, structured text and composition represented his idea and personality. This aesthetic as representation of Agus Suwage's personality differenced his portrait fine arts with others. Third, portrait fine arts by Agus Suwage in 1995-2009 brought portrait theme to be popular theme indirectly into contemporary fine arts development in Indonesia, especially intimately visual object among artists, work arts and environment. Portrait fine arts by Agus Suwage in 1995-2009 generated new trend about work arts creation. This trend used self-portrait continuously in fine arts creation in Indonesia.Keywords: birth, aesthetic, and effect.

Propuesta para la formación del diseñador en gestión de proyectos

The professional practice of design is done through projects, which is the main method used in this discipline. Thus, four courses are contemplated at the UPB School of Design, which seek to strengthen the necessary skills for designers to conduct adequate project management. These courses belong to the management department and deal with topics such as finances, economics, commercial rights, and project management. Previously, the course known as project management was centered on economic evaluation, while leaving aside other aspects of management. Once this had been identified, it was proposed that the course be redesigned to address more pertinent topics based on the nature of project design. Regarding the graphic design program, it was determined that thecourse would be focused on good practices for project management proposed in PMI’s PMBOK Guide. These are addressed according to the specifics of projects in this field and are complemented with economic evaluation and the search for support mechanisms for project execution. As a result, educational strategies were designed with which students could relate new knowledge to past experience in order to generate significant learning.This way, students can identify the importance of each area of knowledge and of the relationship between processes by using the appropriate tools to increase the possibilities of successful projects.