Studio Practice Research Articles

Generative Artificial Intelligence in Graphic Design Education: A Student Perspective

Generative Artificial Intelligence (GenAI) is re-defining the way higher education design is taught and learned. The explosive growth of GenAI in design practice demands that design educators ensure students are prepared to enter the design profession with the knowledge and experience of using GenAI. To facilitate GenAI’s introduction in a project-based context, it is suggested that design educators use critical engagement as a starting point to assure students understand the strengths and weakness of GenAI in the creative design process. There is little guidance on how to systematically integrate GenAI in design studio practice while maintaining a critical perspective of the ethical issues it has engendered. This research explores student attitudes toward GenAI, frequency of its use, and student perception of its impact on their future design careers. A survey of a representative cohort of graphic design students (n = 17) reveals a pragmatic acceptance that GenAI will change how design is practiced and a concurrent willingness to learn more on how to use it effectively and ethically. The survey validates the need for design educators to engage and guide students critically in their understanding and use of GenAI within studio and professional practice.

Listening to Electric Miles

This project considers a case study from the archive of modern recorded jazz—Miles Davis’s Jack Johnson (1971)—as a means to address the collaborative aesthetic, technical, and social dimensions of record production. The release of The Complete Jack Johnson Sessions (2003) contains a number of alternate takes and “inserts” that were cut up and spliced together to create extended tracks on several albums by Davis released from 1971 to 1974. Drawing on recent work in popular music studies, ethnomusicology, and studies in the art of record production, I ask how this studio collaboration affects our notions of authorship and creativity in jazz. In other words, what is the relationship between the countless decisions in the studio and the sound that results? I will study studio practices and interactions in an integrated fashion, bringing together technological, practical, social, and creative/artistic components through a detailed consideration of the construction of a specific track from the album, “Yesternow.” The study of this little-discussed album by a canonical artist allows us to show how a specific approach to recording, as well as changes in recording technology, can be correlated with sonic and formal differences, and social relations.

Derivation of Glaze from Cathode Ray Tubes (CRTs) for Ceramic Wares

Introduction of digital display makes cathode ray tube to be largely obsolete. The tube with its screen becomes waste at the end of the products lifecycle. This study, which combined laboratory experimentation and studio practices, aimed at production of glass glaze with cathode ray tube screen. Cathode ray tubes of four different colours were used for the study. The tubes were washed, pulverized and sieved according to their colour, elementally analysed using Particle Induce X-ray Emission, and milled into two batches per colour with first batch mixed with ball clay and second batch mixed with ball clay and additive chemical material of borax. The glaze batches were applied on eight bisque-fired tiles and fired at 1100 0C. The glazes yielded greenish grey, greyish purple, transparent grey and dark grey. This is significance towards the diversification of Nigeria’s economy for solving solid waste disposal challenges for a better and safe environment. The study has proven that cathode ray tubes with addition of borax and ball clay are suitable for glaze production and provided elemental information to guide the glaze formulation.

Can we do this online? An aesthetic inquiry on virtual studio management education

Studio methods represent one of the more recent forms of arts-based learning interventions for promoting business students' creativeness, fostering socio-material relationships, and generating new insights through its maker-orientation. Different from more individually focused analytical tools, studio practices involve the collective materialization of artifacts to study management and organization topics. The potential for introducing online studio activities remains underexplored because studio-based approaches typically rely on assumptions of physical co-presence and material matters. Contributing to the current dialogue surrounding virtual student engagement and experiential collaborations, this paper focuses on studio activities designed for engaging online MBA Organizational Behavior students in the artistic materialization of artifacts to explore their experiences with virtual groups. Realized artifacts are shared with peer groups through a virtual platform, inviting aesthetic enjoyment and interpretations. Student reflections on artifact-making and virtual sharing are examined through the lens of aesthetics to guide readers through both theoretical nuances and practical insights on co-creative studio dynamics. Participants’ narratives underscore both opportunities and challenges associated with online socio-material studio work. Implications for future research and online studio practices are considered.

The Internet's Impact on Artistic Expression: A Paradigm Shift in Creative Processes

The Internet has revolutionised artistic expression, sparking a paradigm shift in creative processes. This paper investigates the profound impact of the Internet on artistic creation, examining its influence on artists, creative processes, and the consumption and dissemination of art. It explores the democratisation of art creation, the emergence of new art forms, and the challenges of copyright and online harassment. Central to this shift is the transition from solitary studio practices to collaborative, interdisciplinary approaches facilitated by digital tools and online communities. The shift's core lies in moving away from solitary studio practices towards a fluid, collaborative, and multidisciplinary approach, where artists leverage digital tools, multimedia, and online communities to inform their work. This reshaping of the creative process raises questions about authorship and originality, transforming the Artist into a curator and co-creator navigating a web of influences. The Internet's potential to empower artists and enrich our cultural landscape is immense, but fostering a healthy online environment that values artistic freedom and protects creators' rights remains crucial. Embracing this transformative era, we can build a future where art thrives in diverse and evolving forms. This paper highlights the transformation of artists into curators and co-creators, navigating a web of influences, and discusses the immense potential of the Internet to empower artists and enrich our cultural landscape. DOI: https://doi.org/10.52783/tjjpt.v45.i02.6725

Psychoanalysis as “Studio Practice”

ABSTRACT In their essays, Kathleen Miller and Katie Gentile show us ways of writing, thinking, and practicing psychoanalysis that address the onto-epistemological and social implications of taking account of the more-than-human. In their reach beyond human centrism, Miller and Gentile model experimentation and invention as well as invite us to consider what I discuss as psychoanalysis as a studio practice.

Untimely Teachers: Recovering Postmodernism’s Anachronic Pedagogies

How does one distinguish between a reactionary retreat into the past and a critical reconnection with lost practices that might disrupt the current order? This question weighed heavily on architectural educators in the 1960s and 1970s as they encountered an increasingly politicised student body. In this introduction, we detail some of the motivations and the consequences, of the turn to outmoded and forgotten architectural mentors, precedents, and ideas. In a period of pedagogical experimentation and curricular reform, how—and why—did a group of teachers find new techniques for sharing historical narratives and incorporating historical content into design studio practices? Friedrich Nietzsche’s theorisation of the “untimely” provides a reference point for the wider range of anachronic pedagogies tested and developed by architect-historians during this period. Ultimately, the introduction frames the contributions to this issue as attempts to challenge the prevailing theorisations of postmodern time consciousness.

Use and Influence of Technological Gadgets on Students’ Performance in Art Production

Despite the opportunities afforded art teachers in the use of technology today, many of them avoid these opportunities; either because they are not interested or they prefer the traditional way of teaching or they lack the know-how to use them. A cursory look at our Art institutions and Departments in Nigeria today reveals that there is need to overhaul the training methods and facilities in the system to meet global standard and technology-driven society of our time. This paper discusses the place of technology in Art pedagogy; looking at studio practice and theory, its influence on art production and sustainability in the future. The purpose of the study is to evaluate the quality of computer gadget-aided paintings and those made from real objects among selected students in tertiary institutions. Methodology adopted includes literary review, survey and practical experiments. The paper points to the fact that the role of technology cannot be over-emphasized in art teaching and learning, exhibition and sale, recording, preservation, as well as documentation and archiving of art experiences. It is recommended that teachers of Art must be abreast with modern techniques in teaching in a dynamic and technology-driven world of today.

The application of abstract think and graphic language for diagrammatic thinking in space design

Environmental design as a practical major in the university, is concentrating on training students to become professional designers to fit the requirements of the design market today. Traditional design education that only construction documents with CAD technology training has no longer satisfied the needs of economy and the market today, so we have to explore new strategy to change the way of teaching. This article explores some examples of new strategy of how to set up lecture, studio practices, and competition workshop for environmental design course system in high education institute in China. The goal is to transform abstractive thinking in art and design perception to representational diagram in visual technique. We hope this new exploration can reform the atmosphere during studio education, with merging new technique such as new digital media, AI and IT technology, and therefore, change the learning technique and improve students to learn more.

The Digitalization of Studio Practices and Its Impact on the Development of Design Literacy of First-Year Architecture Students

Digital skills are emphasized in the ongoing process of digital transformation in higher education. In this article, digital literacy is discussed within the broader perspective of design literacy and the acceleration of the digitalization process of first-year design education at the time of the outbreak of the COVID-19 pandemic in spring 2020 is highlighted. The article interrogates the role of digital skills in the development of design literacy of first-year architecture students through a multiple case analysis of ARCH 101 design studio practices executed in the Bachelor of Architecture programmes at the Özyeğin University, Department of Architecture and the Middle East Technical University, Department of Architecture. The digitalization processes of ARCH 101 studios increased rapidly when the COVID-19 pandemic started and resulted in the integration of digital tools into basic design education in ways that transformed (1) the communication modalities and the representation and research strategies used by students, and (2) the understanding and methodologies of the design process when used as generative design tools.

Examining Studio-Based Art Practices as a Means of Fostering Critical Thinking Skills in Young Learners

This study examines how studio-based art practices, such as drawing, painting and sculpture, can be used to foster critical thinking skills in elementary and middle school students. Studio art engages students in hands-on creative problem solving and experimentation. A review of literature on critical thinking skills, visual arts education, and cognitive development in children was conducted. Case studies of art programs that incorporate discussion and reflection were also examined. The research suggests that open-ended art projects that promote student autonomy and require making decisions can boost skills like analysis, interpretation, evaluation and creative problem solving. When combined with self-reflection and group critique, studio art may enhance perspective taking, reasoning ability and abstract thought in young learners. When implemented intentionally to cultivate questioning, exploration and meaning making, studio-based visual art practices show potential as a tool for nurturing critical thinking during foundational school years. Further research is still needed to systematically measure critical thinking outcomes of arts-integrated approaches versus traditional instruction alone. Educators and administrators should consider how critical thinking concepts can be made explicit within art curriculum and instruction in order to leverage the cognitive benefits of studio practice for overall student development.

"In the Studio" with William Kentridge

Abstract Abstract This interview attempts to explore both the individual and collective creative processes of the prolific and world-renowned multiple media visual and performance artist, William Kentridge. It takes place in Paris where the artist has under 30 minutes to engage in a dialogue before the very first performance of his Chamber opera, Sybil, in a theatre new to the troupe. The conversation takes place backstage in the green room, but the dialogue is engaged in a complicit and playful manner, drawing on common backgrounds and histories to cut corners and spare formalities.The result is a new angle on what “Studioness” has become for the artist, although he had never really considered it that way. Exploring the inward-looking and outward-reaching movements within studio practice, the author seeks to enlarge the notion of studio to include remote and virtual practices in the reflection. The impact of, and response to, the COVID-19 lockdown period is central to the discussion.

Material Empathy in the Manufacture of a Multi-block Printed Wallcovering

This paper reflects on the interconnection between studio and factory production as the merging and metamorphosis of my printmaking practice. Specifically, the ‘process of correspondence’ (Ingold, 2013) in the making of multi-block matrices prior to factory printing.
 In 2020, Kunsthøgskolen i Oslo funded my artistic research, to embody ‘material empathy as the physicality of craft’ (Shales, 2017) in the manufacture of a multi-block printed wallcovering. How did first-hand knowledge of factory production impact my studio practice? What new insights into printmaking were revealed through the delimitations of manufacturing?

Points of Balance and the Infra-thin in Éliane Radigue’s Endless Music

ABSTRACT This paper examines Éliane Radigue’s ‘musique sans fin’ (endless music) of 1968–1970. The period marks her development of acoustic feedback techniques for free-duration performance, where two or more tape loops are set into asynchronous, continuous mechanical playback. Drawing on interview material with Radigue, critical analysis of her ‘endless music’ works and my own study of audio feedback to identify technical details of her studio practice, I argue the importance of this short, relatively under-researched, but formative period of her composition. In the creative, musical use of acoustic, or ‘Larsen’ feedback, musicians control sounds that resonate in the space between a microphone and a loudspeaker under certain acoustic conditions and there is a thin point of balance between pure feedback tones and distortion. A similar fine balancing point is the basis of Marcel Duchamp’s concept of the ‘infra-thin’ which refers to an almost imperceptible gap between two fluid states or experiences during the creation of a work of art. I have chosen to employ elements of Duchamp’s ‘infra-thin’ to guide my analysis of Radigue’s feedback techniques which are similarly based on an atomic, transformational fluctuation between different sonic conditions.

Inventing a Selfie Studio

Abstract Through a case study of Istanbul’s Foto Görçek, playfully dubbed ‘the world’s first selfie studio’, this article focuses on the changing photographic practices from the mid-1940s–1960s in modern Turkey, which experienced a dramatic political transition during the 1950s with the introduction of the multi-party regime following three decades of strictly secular Kemalist rule. This study explores how Foto Görçek challenged and transformed studio practices in Turkey, particularly during its increasing popularity in the 1950s–1960s, by allowing people to take up Elizabeth Edwards’ notion of the ‘theater of the self’, or when the self also takes on the role of the photographer. Accordingly, the article looks at the affordances of the photo studio as a space where citizens reimagined their desired selves and when new ways of imagining the self were made available to them. Moreover, this study investigates how such new imagined selves in the aftermath of the Second World War served to renegotiate a desired modern Turkish identity resulting from the rigorous state-controlled nation-building process during the 1920s–1930s.

A blended model of interior design studio practice due to COVID-19

Background: The coronavirus disease 2019 (COVID-19) pandemic upended the educational system around the globe. During this challenging period, universities and colleges looked for other effective alternative methods of learning, such as Virtual Learning Environments (VL). Besides, Ahlia University has implemented E-learning in response to COVID-19. There needs to be more attention given to the challenges associated with technology adoption facing interior design and architecture programs, where over 60% of courses are practical, especially design studios, which form the core of the curriculum. According to a review of the relevant literature, there needs to be more research on blended learning in interior design and architecture. In order to enhance the teaching and learning of interior design and architecture, further research is required to combine cutting-edge techniques and technology. The aim of this study was to review the classroom materials for Ahlia University’s interior design studio. Methods: After completing the INTD 212, INTD 216, INTD 311, and INTD 404 studios in mid-March 2022, a short Qualtrics poll was done to assess the difficulties of e-learning and offer potential consequences. Results: Though students were conveniently attending courses online, there was not much discussion and interaction like in the face-to-face model. Blended teaching in design studio courses offered many benefits. The results showed that blended design studios achieved pedagogical results as students developed their knowledge. Conclusions: Based on the findings, this research concludes that teaching and learning should be shifted from face-to-face and online learning to the best practice of a blended format.

Structural features in classical and jazz studio lessons

The purpose of this study was to investigate broad structural divisions in advanced studio lessons, characterising and comparing them, and considering their implications beyond the context of the studio. The study took a microethnographic approach to the observation of two undergraduate studio lessons, one classical and one jazz, given by expert performer-teachers. Structures were identified by seeking patterns of behaviour in terms of performance and lesson dialogue, along with discourse markers that might signify changes of focus or trajectories of action. A common feature for the two lessons was a series of episodes focused on student performance, with behavioural patterns changing for episodes reflecting on it. Contextual episodes emerged as the outstanding feature of the jazz studio lesson. It is argued that contrasts between the two lessons might be linked to the cultural traditions implied in each, and that such studies can contribute to research-informed studio practices by provoking and supporting the ongoing development of excellence in the studio.

When the Artist Studio is Alive, Art is Alive: Empowering Art Educators and Students through Live Studio Practice

Art education plays a vital role in developing artistic talent and nurturing creativity. However, the challenges facing art education in many developing countries, including Ghana, are significant. Traditional teaching methods, lack of resources, and cultural and social factors are barriers to the development of high-quality art education programmes and the cultivation of artistic talent. This qualitative study uses textual analysis to explore the potential of live studio practice as a solution to the challenges facing art education in Ghana. With regards to duration, investigation time frame falls between 2012 and 2023. The analysis of selected texts related to art education in Ghana reveals several key themes and patterns related to the challenges facing art education in Ghana and the potential of live studio practice to promote practical skills development, creativity, community engagement, professional skills development, and cultural exchange. The findings of this study disclose that policymakers, educators, and practitioners in the field of art education in Ghana does not prioritize the factor of the development of policies and practices that promote the development of high-quality art education programmes and the cultivation of artistic talent in Ghana through the use of live studio practice. In terms of suitable spaces for the critical artistic studio practical aspects, it is uneasy to have comfortable dwellings for the consistent practical works. These factors donate the hindrance of potentials in the amateur artists. This study contributes to the ongoing debate about the future of art education in Ghana and provides insights into the potential of live studio practice as a solution to the challenges facing art education in Ghana and other developing countries.

Evaluation of Distance Education and Formal Education on Architectural Design Studio Practices and Student Perception with Comparative Analysis: Antalya Bilim University

Due to the worldwide Covid pandemic in 2020, it has undergone compulsory in universities, including distance education architectural education. Universities in Turkey were affected by Covid too, with the decrease of the pandemic effect, even though it has been back to formal education, an earthquake occurred and affected 10 cities in Turkey, causing to passed of distance education again. In the 2023 period, the process; continued as a hybrid, both remotely and face-to-face. Also, the design studio culture, which is the backbone of architectural education, evolved with the changes in the distance education process of components such as drawing, sketches, and the desk critiques tradition of architectural practice. In this sense, the study aims to create a base for a provision for the future of architectural education with student-centered assessments. The research comparatively evaluates the effects of distance education and formal education on architectural studio practices through course evaluation questionnaires applied to students and student comments. In this study, the questionnaires and comments filled by approximately a total of 120 students for each term between 2018-2022 within the Department of Architecture of ABU were analyzed. To determine the points where students get the most efficiency and feel inefficient; Both positive and negative outcomes were observed, including difficulties with the concepts of proportion and scale, the benefit of being able to view other students' projects online, and the chance to continue learning additional modeling and drawing software until graduation. This example shows how hybrid education for the architectural design studio can be evaluated when weighing the benefits and drawbacks of online learning versus face-to-face teaching.

An Exploration of Conceptual Prototype of an Artistic Handcraft Wallet (AHW) Design

The exploration of a conceptual prototype of an Artistic Handcraft Wallet (AHW) design is a studio practice study that engages the experience of both virtual and real physical prototyping. This article is method based .i.e. it unfolds the method used in the design of AHW. It involves the use of 5H + 1H for design thinking. Simulation of AHW involves CorelDraw X5 and Adobe Photoshop CS5 for motif, surface pattern and object transformation. The real physical prototyping involves studio experiment on textile decoration to produce AHW. The significance of this exploration is to fulfil of one of the objectives of Industrial Design Department, Federal University of Technology, Akure, Ondo State, Nigeria. That is, students have to develop creative, aesthetic and industrial skills needed for product design. The findings show that design thinking is important for insightful design. Art and design making like AHW can bring up analogy that are useful for social design. Moreover, the findings show that it is enjoyable to use CAD during conceptual prototyping depending on the designers’ optimum proficiency in the use of CAD software application. Finding as well reveals that the satisfactory level of virtual and real physical prototyping are different in terms of process and end product/finishing/design outcome. It is also noticed that there are challenges tackling the translation of CAD virtual prototype to real tangible physical products. It is also realized that suitable learning environment is needed for the proper psyche to initiate good designs.