Stop Telling Designers What To Do: Reframing Instructional Design Education T...colin gray
In this study, we address existing ID education through the lens of authentic ID practice, noting a lack of rigorous research into practice that should inform how we teach. Researchers observed eight ID practitioners conducting everyday activities in two organizations. Based on analysis of the judgments these designers made and the infrastructure surrounding their activities, implications for ID education are identified, including areas of authentic practice not usually addressed in courses.
Stop Telling Designers What To Do: Reframing Instructional Design Education T...colin gray
In this study, we address existing ID education through the lens of authentic ID practice, noting a lack of rigorous research into practice that should inform how we teach. Researchers observed eight ID practitioners conducting everyday activities in two organizations. Based on analysis of the judgments these designers made and the infrastructure surrounding their activities, implications for ID education are identified, including areas of authentic practice not usually addressed in courses.
Presented by Ellen Petraits at the Annual Conference of the Visual Resources Association, April 3rd - April 6th, 2013, in Providence, Rhode Island.
Session #13: Pedagogical Studies in Visual Literacy
ORGANIZER/MODERATOR: Mark Pompelia, Rhode Island School of Design
PRESENTERS:
Diana Carns, University of Massachusetss Dartmouth
"Constructing Meaning: Integrating Text, Images, and Critical Questioning"
Ellen Petraits, Rhode Island School of Design
"Visual Literacy for Visual Learners: Relating Research Skills to Haptic Skills"
Kelly Smith, Lafayette College
"Image Seeking and Use by Graduate History Students: Avenues to Incorporating Visual Literacy"
Sarah Vornholt, University of Hawai'i at Manoa
"Visualizing the Article: An Exploratory Study of Undergraduates' Educational Reactions to Images in Scholarly Articles"
Following the popular Visual Literacy Case Studies session that premiered at the 2012 annual conference, this session follows that same purpose while expanding the definition of what it can mean while meeting in Providence, Rhode Island—the Creative Capital, a city that serves as a factory for and of non-traditional learners. As background: A term first coined in 1969, visual literacy, according to the Association of College and Research Libraries “Visual Literacy Competency Standards for Higher Education,” “is a set of abilities that enables an individual to effectively find, interpret, evaluate, use, and create images and visual media. Visual literacy skills equip a learner to understand and analyze the contextual, cultural, ethical, aesthetic, intellectual, and technical components involved in the production and use of visual materials. A visually literate individual is both a critical consumer of visual media and a competent contributor to a body of shared knowledge and culture.”
Group Assessment in Higher Education - Possibilities & ChallengesDavid Morrison-Love
This presentation explores some of the challenges, opportunities and ways of designing effective group work for students in Higher Education. It draws upon particular structures and examples that have been successfully employed by courses in the School of Education at the University of Glasgow.
This presentation discusses the similarities and differences of two instructional design models: ADDIE MODEL & Dick & Carey Model, their history and their importance.
Presented by Ellen Petraits at the Annual Conference of the Visual Resources Association, April 3rd - April 6th, 2013, in Providence, Rhode Island.
Session #13: Pedagogical Studies in Visual Literacy
ORGANIZER/MODERATOR: Mark Pompelia, Rhode Island School of Design
PRESENTERS:
Diana Carns, University of Massachusetss Dartmouth
"Constructing Meaning: Integrating Text, Images, and Critical Questioning"
Ellen Petraits, Rhode Island School of Design
"Visual Literacy for Visual Learners: Relating Research Skills to Haptic Skills"
Kelly Smith, Lafayette College
"Image Seeking and Use by Graduate History Students: Avenues to Incorporating Visual Literacy"
Sarah Vornholt, University of Hawai'i at Manoa
"Visualizing the Article: An Exploratory Study of Undergraduates' Educational Reactions to Images in Scholarly Articles"
Following the popular Visual Literacy Case Studies session that premiered at the 2012 annual conference, this session follows that same purpose while expanding the definition of what it can mean while meeting in Providence, Rhode Island—the Creative Capital, a city that serves as a factory for and of non-traditional learners. As background: A term first coined in 1969, visual literacy, according to the Association of College and Research Libraries “Visual Literacy Competency Standards for Higher Education,” “is a set of abilities that enables an individual to effectively find, interpret, evaluate, use, and create images and visual media. Visual literacy skills equip a learner to understand and analyze the contextual, cultural, ethical, aesthetic, intellectual, and technical components involved in the production and use of visual materials. A visually literate individual is both a critical consumer of visual media and a competent contributor to a body of shared knowledge and culture.”
Group Assessment in Higher Education - Possibilities & ChallengesDavid Morrison-Love
This presentation explores some of the challenges, opportunities and ways of designing effective group work for students in Higher Education. It draws upon particular structures and examples that have been successfully employed by courses in the School of Education at the University of Glasgow.
This presentation discusses the similarities and differences of two instructional design models: ADDIE MODEL & Dick & Carey Model, their history and their importance.
1. AP 2D Portfolio- Breadth Rubric Name: ___________________
Project:
Level
Points ASSESSMENT CRITERIA (Grading>> S is student; T is teacher) S T
• Shows an informed investigation of a broad range of 2-D design principles.
• Clearly demonstrates original vision, a variety of innovative ideas and/or risk taking and inventive
articulation of a broad range of the elements and principles of 2-D design.
• Shows an excellent application of 2-D design principles to a broad range of design problems.
Clearly demonstrates a broad range of intentions or purposes; it articulates multiple insights.
6 – Excellent
•
(100 – 93)
• Work as a whole is confident and evocative; it engages the viewer with visual qualities (for example, verve
or nuanced subtlety).
• Work is technically excellent; materials and media are used effectively to express ideas.
• Any apparent appropriation of published or photographic sources or the work of other artists clearly
provides a visual reference that is transformed in the service of a larger, personal vision in which the
student’s “voice” is prominent.
• May be a varying range of accomplishment among the works, but overall the work reaches a level of
excellent breadth and quality.
• Shows a thoughtful investigation of a range of 2-D design principles.
• Demonstrates a range of original, innovative ideas and effective manipulation of the 2-D design principles.
• Shows strong application of 2-D design principles to a range of design problems.
• Demonstrates a variety of intentions or purposes; a range of insights is apparent.
5- Strong
(92 – 86)
• Most of the work engages the viewer with expressive and evocative qualities; the work suggests confidence.
• Work is technically strong; materials and media are used well to express ideas.
• Any apparent appropriation of published or photographic sources or the work of other artists shows a strong
sense of the student’s “voice” and individual transformation of the images.
• May be varying levels of accomplishment among the works, but overall the work is of strong breadth and
quality.
• Shows good investigation of a variety of 2-D design principles.
• Demonstrates some original and innovative thinking with purposeful manipulation of 2-D design principles.
• Shows good application of design principles and an acceptable range of problem solving.
• Some of the work has discernable evocative or engaging qualities, though confidence is not strongly
(85 – 78)
4-Good
apparent.
• The work demonstrates good technical competence and use of materials and media; technical aspects and
articulation of ideas do not always work together.
• Within the apparent appropriation of published or photographic sources or the work of other artists, the
student’s “voice”
• Maybe uneven levels of accomplishment in work, but overall quality are good.
• Shows superficial decision-making or discovery, with little sense of 2-D design principles investigation.
• Some original ideas are emerging or some attempt at innovation with 2-D design principles is evident.
• Shows superficial application of 2-D design principles to a limited range of design problems.
3-Moderate
(77 – 70)
• The work is emerging in terms of potentially engaging qualities; confidence is questionable.
• The work demonstrates moderate technical competence & some knowledgeable use of materials and media.
• If published or photographic sources or the work of other artists are appropriated, the work appears to be
nearly direct reproductions; even if skillfully rendered, the student’s “voice” and the individual
transformation of the images are minimal.
• May be an emerging level of accomplishment; overall the work is of moderate breadth and quality.
• Shows very little evidence of investigation of a range of 2-D design principles.
• Ideas in the work are unoriginal or rely mostly on appropriation; the work does not show inventive use of
the elements and principles of 2-D design.
2 – Weak
(69 – 65)
• The work shows a weak application of 2-D design principles to a very limited range of design problems.
• Does not engage the viewer; the work lacks confidence.
• Work is generally awkward; demonstrates marginal technical competence and use of materials & media.
• Work appears to be direct copies of published or photographic sources or the work of other artists; there is
little discernable student “voice” or individual transformation.
• Little evidence of accomplishment demonstrated; overall the work is of weak breadth and quality.
• Shows negligible investigation of a range of 2-D design principles
• No original or imaginative ideation in the work in regard to the elements and principles of 2-D design; the
work is comprised of trite, simplistic or appropriated solutions.
(64 – lower)
1 – Poor
• Shows little or no useful application of 2-D design principles.
• Does not engage the viewer; there is no confidence evident in the work.
• Work is generally inept; use of materials and media is naive and lacks skill or technical competence.
• Work appears as direct copies of published or photographic sources or the work of other artists; there is no
discernable student “voice” or individual transformation.
• Overall the work lacks accomplishment and is of poor breadth and quality.
Riverwood International Charter School
djmunson, September 2010