Graphic design involves shaping how information is presented through visual communication. It is used in many mediums like television, marketing, print, and web design. The author teaches students to find their unique creative voice by cultivating their inner artistic instincts and refining their personal style, rather than imitating others. Students are encouraged to appreciate the process of design and not just the finished product. Developing one's own style takes time but is crucial for producing meaningful graphic design work.
Presented at Assessment 3.0 conference at the University at Buffalo November 2014. 90% of information transmitted to the brain is visual and visuals are processed 60,000 times faster than text. In a world that is becoming increasingly visual with social media as a driving force, the written word may not always be the best way to communicate the results of your assessment data. How many times have you been asked to create a presentation or report using charts and infographics to summarize our assessment data? So how do you get from a pile of data to a “pretty” visual? In this session, you will learn and practice five simple steps to guide you through the process of visual sense making to displaying and sharing your data.
Design and Creativity for Marketing and Management Professionals. Workshop given at Asian Consumer Institute, NTU Singapore 2015 by Ricardo Sosa and Kris Wood
This article, written by Anindya Kundu, Visual Designer at Kuliza, was published in issue 08 of the Social Technology Quarterly.
Summary: When analysing the importance of functionality and aesthetics in design, we notice that it is the context that determines which of the two takes a dominant role in a
particular instance. But in the larger picture both need to complement and balance each other.
Presented at Assessment 3.0 conference at the University at Buffalo November 2014. 90% of information transmitted to the brain is visual and visuals are processed 60,000 times faster than text. In a world that is becoming increasingly visual with social media as a driving force, the written word may not always be the best way to communicate the results of your assessment data. How many times have you been asked to create a presentation or report using charts and infographics to summarize our assessment data? So how do you get from a pile of data to a “pretty” visual? In this session, you will learn and practice five simple steps to guide you through the process of visual sense making to displaying and sharing your data.
Design and Creativity for Marketing and Management Professionals. Workshop given at Asian Consumer Institute, NTU Singapore 2015 by Ricardo Sosa and Kris Wood
This article, written by Anindya Kundu, Visual Designer at Kuliza, was published in issue 08 of the Social Technology Quarterly.
Summary: When analysing the importance of functionality and aesthetics in design, we notice that it is the context that determines which of the two takes a dominant role in a
particular instance. But in the larger picture both need to complement and balance each other.
Creative Manifesto (updated July 2013)Ben Swofford
"The Creative Journey" is a creative manifesto originally written in December 2012 as a culmination of Entrepreneurship 366: Creativity & Innovation, taken in the Farmer School of Business at Miami University in Oxford, Ohio, USA.
I am a 23-year-old from Cincinnati, Ohio. I have a degree in architecture and currently work as a Social Media Specialist.
Remembering an old teacher of mine who used the Tao of Jeet Kune Do, I have extracted a few principles out of my experience while teaching graphic design to students of the Staffordshire University program at the Werbeakademie.
From Looking to Making: An Introduction to Graphic DesignOjus Doshi
I delivered a guest lecture to a Public Health class at Brown University. The lecture was an introduction to graphic design as a way of making meaningful form from observations, and some examples and analysis of existing design campaigns that could be applicable to public health students interested in ways to make their messages come to life.
This presentation was used in the third class of the course Design Thinking. The course is part of the Service Innovation Design master program of Laurea University of Applied Sciences. The other teacher in the course was Joanna Saad-Sulonen.
This is a portfolio of mine to showcase my artworks and my design skills, the artworks mainly are from year 2009 to 2015. And I am a fresh grads student from Kuala Lumpur Malaysia. Hopefully through this web, I'm able to find my employer.
Design Investigation Method presented at SECAC 2013, Greensboro, NC. A simple research method that can be taught to beginning design students to strengthen their design solutions.
Argumentative Essay On Creativity
Design Thinking Essay examples
A Creative Classroom Essay
Reflection Of Creative Writing
Creative Innovation : Creativity And Innovation
Creative Person
My Passion For Creative Writing
What Creativity Means to Me: An Opinion Essay
Reflection Of Creative Writing
Creative Writing: The Storm
Storm Creative Writing
Personal Reflection On Creativity
Reflection Essay On Creativity
Creative Writing : The Great Gatsby
Creative Writing: Trapped! Essay
Reflective Essay On Creative Writing
Seven Creative Ways to Improve the Way You WorkDoug Shaw
This deck includes links to research on why we find creativity hard, how to work through that difficulty, and some practical applications for creativity at work.
Slides are from my talk and workshop at Learning Skills Group - June 2014.
Neha Yadav, Diploma Fashion Design Second Year, (How to Design for Fashion In...dezyneecole
Portfolio Of Student Of Dezyne E'cole College , Neha Yadav, Second Year Fashion Design.This Is The Portfolio Of Her Work From Second Year .For More Details Visit www.dezyneecole.com
Creative Manifesto (updated July 2013)Ben Swofford
"The Creative Journey" is a creative manifesto originally written in December 2012 as a culmination of Entrepreneurship 366: Creativity & Innovation, taken in the Farmer School of Business at Miami University in Oxford, Ohio, USA.
I am a 23-year-old from Cincinnati, Ohio. I have a degree in architecture and currently work as a Social Media Specialist.
Remembering an old teacher of mine who used the Tao of Jeet Kune Do, I have extracted a few principles out of my experience while teaching graphic design to students of the Staffordshire University program at the Werbeakademie.
From Looking to Making: An Introduction to Graphic DesignOjus Doshi
I delivered a guest lecture to a Public Health class at Brown University. The lecture was an introduction to graphic design as a way of making meaningful form from observations, and some examples and analysis of existing design campaigns that could be applicable to public health students interested in ways to make their messages come to life.
This presentation was used in the third class of the course Design Thinking. The course is part of the Service Innovation Design master program of Laurea University of Applied Sciences. The other teacher in the course was Joanna Saad-Sulonen.
This is a portfolio of mine to showcase my artworks and my design skills, the artworks mainly are from year 2009 to 2015. And I am a fresh grads student from Kuala Lumpur Malaysia. Hopefully through this web, I'm able to find my employer.
Design Investigation Method presented at SECAC 2013, Greensboro, NC. A simple research method that can be taught to beginning design students to strengthen their design solutions.
Argumentative Essay On Creativity
Design Thinking Essay examples
A Creative Classroom Essay
Reflection Of Creative Writing
Creative Innovation : Creativity And Innovation
Creative Person
My Passion For Creative Writing
What Creativity Means to Me: An Opinion Essay
Reflection Of Creative Writing
Creative Writing: The Storm
Storm Creative Writing
Personal Reflection On Creativity
Reflection Essay On Creativity
Creative Writing : The Great Gatsby
Creative Writing: Trapped! Essay
Reflective Essay On Creative Writing
Seven Creative Ways to Improve the Way You WorkDoug Shaw
This deck includes links to research on why we find creativity hard, how to work through that difficulty, and some practical applications for creativity at work.
Slides are from my talk and workshop at Learning Skills Group - June 2014.
Neha Yadav, Diploma Fashion Design Second Year, (How to Design for Fashion In...dezyneecole
Portfolio Of Student Of Dezyne E'cole College , Neha Yadav, Second Year Fashion Design.This Is The Portfolio Of Her Work From Second Year .For More Details Visit www.dezyneecole.com
You may be using visual representation in your classroom, but are you having students create their own visuals to provide evidence of what they know and understand?
How can visual notetaking and interactive notebooks motivate student engagement and critical thinking in social studies classrooms?
137 191214 Inspiration = Ideas by Petrula Vrontikis
teacher philosophy article
1. graphic design is involved in every
aspect of information. What type
of information we see, how we see it,
where we see it, and why we are
seeing it. Graphic design is in
television, marketing, print, video
games, web design, signage —the
list goes on and on. Graphic design is
what I call “The Art of Communication”.
It is simultaneously a tool and art form
that is used to deliver information to a
viewer in such a stimulating way that
captures their attention, and the result
of that product is graphic design.
Description of how I teach…
In teaching graphic design as a com-
municative art form, I teach students
how to find their “voice”. All of us as
individuals have a distinctive way in
which we see the world. The nature of
our biology, the nurture of our
environment results in the way we all
express ourselves. It determines what we
wear, how we wear it, and what colors we
choose to wear. This inner voice is always
telling us what we like from what we don’t
like. What elements are appealing to our
eyes, to what we find repulsive. It is this
“voice” that I try to cultivate in students
when approaching graphic design.
“Good graphic design effects
how a thing looks. Great graphic
design affects how you feel.”
Conception of teaching and Learning…
Students are always questioning them-
selves of what they have to bring to the
table, with so many designers that have
gone before… How can they create a
distinctive voice? A lot of times students
are imitating a particular style, or approach
when they are searching for their own style.
For them it can become a tough journey
to overcome, because everyone already
has their own style, but they don’t respect
it, or don’t listen to their own voice. They
hate their own work; they get tired of seeing
what their work looks like because they
want it to look like someone else’s work that
they admire.
I try to teach that it’s easy to dismiss their
own style, because nobody sees the world
the way they do. So when they are seeking
out someone else’s style to emulate,
The Art of
CommunicationA personal approach
to teaching design
by Dennis Hall
2. it’s a disservice to their entire upbringing, heritage, and
genetics. They already have within them the unique
talent, and expression of what we all are in search for
—a fresh approach. They just need to listen to their
voice, but it just takes time to chisel away the roughness
of their own style and refine it. It’s always been there
underneath; it just needs to be excavated, brought to
the surface. This is what students should really focus on,
instead of “I wish my work looked like his or hers.” The
crucial aspect of learning graphic design is to learn how
to refine your own look, listen to your own voice, appre-
ciate how you work and then they will have developed
their own style at that point, because it’s been living
within them their entire life.
Justification for why you teach that way…
Today’s designers are growing up with the quick and
instant message, from Instagram to memes. The inunda-
tion of these kinds of graphics creates more messages
that you will discard than keep. So what has evolved
is there is more credence given to the product and not
the process. This creates the belief that it can be done
quickly, because of the instant gratification of producing
something first. The lack of appreciating the process,
of arriving at producing art creatively is a process that
takes time.
Good graphic design effects how a thing looks. Great
graphic design affects how you feel. It’s the difference
in seeing something and saying, “Oh, that’s cool!”
Whereas, a great graphic design piece can become
cultural iconography, such as the presidential campaign,
in Obama’s “Hope” poster. If a student wants to produce
great graphic design that will speak to his or her genera-
tion, encapsulate a thought, idea, or moment they must
delve into the time to creating the many varying thumb-
nails, the dizzying types of colors that can be applied,
the appropriate inclusion or non-inclusion of images and
properly choosing the many differing typeface before
finally posting an image.
To familiarize my students with this process, I introduce
them to the steps involved in working an idea from incep-
tion to completion at the beginning of the semester.
I allow all opinions to be heard using direct communica-
tion to quell any confusion, giving students the opportunity
to offer constructive criticisms and invite critiques by their
classmates. This allows students to develop his or her
self-editorial process, which is so crucial in finding their
own voice. DH
Learning from the best…
In my secondary education, I had the availability to
learn graphic design from three of the most inno-
vative and generous designers working today. Ina
Saltz, art director, designer, writer, photographer
and professor at The City College of New York
whose areas of expertise are typography and edito-
rial publication design.
Angela Riechers, an art director, who’s created
concepts and page layouts for everything from
Harper’s Magazine to iPad apps for O, and the
Oprah Magazine while teaching undergraduate de-
sign and architectural history courses at the School
of Visual Arts, the City College of New York and
New York University.
Alex W. White, designer, lecturer, professor, and
author of seven books on graphic design and ty-
pographic practice, theory, and philosophy whose
clients include magazines and advertising agen-
cies, professional associations and schools located
across the U.S. and in several foreign countries.
Drawing from those learning experiences has been
critical in enabling me to develop goals for student
learning, explore various teaching methods and
to examine the best means for evaluating student
learning.
Dennis Hall with student