Art and Design Blogs: a Socially‐Wise Approach to Creativity

Many images of the ‘artist’ or ‘designer’ pervade the media and popular consciousness. Contemporary images of the artist and creativity that focus solely on the individual offer a very narrow depiction of the varying ways creativity occurs for artists and designers. These images do not capture the variety of creative processes and myriad ways artists and designers work. Young creatives in particular are choosing to work with a social approach to creativity. An example of this approach is the world of blogging, a form of social media where young creatives have a very active voice. This article explores how creative bloggers, that is, artists, designers and makers who blog about their practice, use a social approach to foster creativity with a sense of community, environmental and ethical awareness, a value framework that is in opposition to the market‐driven notion of liberal individualism. Is there a way to include participation in the broader art and design blogging world as part of art and design education? What can we learn from such a social approach to learning in higher education art and design programmes? This article explores these questions and shares findings of an ethnographic approach to an analysis of art and design blogs. In doing so it argues for a socially‐wise approach to creativity in art and design education as a means of promoting values other than those usually connected to the market.     

Creative Risk‐Taking: Developing Strategies for First Year University Students in the Creative Industries

This article reports on the findings of a study investigating creative risktaking behaviours of the commencing university students enrolled in three units across three disciplines: Interactive and Visual Design, Fashion Design, and Film, Screen and Animation. The study employs an action research methodology in order to help students develop confidence and competence in creative risk‐taking. Upon analysis from relevant literature three key provisions for the study are proposed, being: P1 An open and playful learning environment that encourages sharing and challenging multiple perspectives; P2 An adequate period of time for students to develop and revise creative concepts; and P3 Opportunities to assess their own performance in developing creative risk‐taking capacities. The study draws on the students’ written self‐reflections to identify the key challenges and opportunities in encouraging creative risk‐taking among first year students, which are challenges of collaboration; creative resilience and self‐efficacy; and balancing creativity with technical competency. The article suggests several ways that educators can encourage students to take creative risks within higher education in preparation for careers in the creative industries.     

The Design Brief as a Creativity Catalyst in Design Education: Priming through Problem Statement

The design brief informs particularly the first phases of the design process; however, there are very limited studies on its role and functions. The current study proposes a framework that relates problem statement types in a design brief to creative outcomes by promoting the priming effect, which is a cognitive phenomenon describing the ways individuals behave accordingly to the way they receive a stimulus. The claim is that the brief has the potential to stimulate creativity and influence the type of outcomes by priming the design students using the problem statement. An experiment was conducted in which two groups of design students generated sketches in response to two types of problem statements (in noun and verb formations) in similar design briefs. The problem statements in verb formation were found to lead to a higher number of sketches containing more novel and flexible, yet less realisable ideas. The results support the contention that the design brief and the type of problem statements have the potential to act as a catalyst for creativity early in the design process.     

Creativity,Art and Learning: A Psycho‐Social Exploration of Uncertainty

What makes it possible for artists to stay with the anxieties and uncertainties of the creative process? This aspect of an artist's development is rarely theorised or addressed despite it being an essential aspect of creative practice. It is a capacity, similar to tacit knowing, that is gradually acquired and learnt, and cultivated over time as part of the process of practising art and being an artist. The role of tacit knowledge as a key aspect of fine art education is well documented and is a learning experience that artists are familiar with. However, what tends to get focused on in discussions about tacit knowing are the practical, usually physical and technical, aspects of learning from experience to the exclusion of a range of mental or psychological capacities that are also a fundamental part of the tacit knowing process and vital to the learning necessary to be an artist. These mental capacities, which include being able to tolerate high levels of excitability, periods of nothingness, chaos, uncertainty and not‐knowing, are also, I suggest, passed between tutor and student as a form of tacit knowledge. This article draws on the experience of one artist, both as a learner and as an emergent practising artist, in developing this ability. The role played by art tutors in supporting student artists to develop a capacity to stay with the anxieties of the creative process is also explored.     

Becoming a Design Thinker: Assessing the Learning Process of Students in a Secondary Level Design Thinking Course

Design thinking is a collaborative problem solving and human‐centric approach that fosters innovation by elevating participants’ creative thinking abilities. Design thinking techniques and practices have been implemented into different curricula in secondary and post‐secondary education to address the need for new skills to be learned for the twenty‐first century. However, little work has been conducted to clarify how to evaluate the students’ design thinking skills gained in these courses. This study reports on a successful evaluation of an interaction design thinking curriculum in secondary level education. Several types of data sources, including participant observation, open‐ended questions and document analysis were employed to gather extensive data on students’ skills gained during the course. The results of the study inform design thinking researchers about how to evaluate design thinking skills of students in a secondary level design thinking course.     

Self‐Assessment in Art Education through a Visual Rubric

A tool for self assessment in secondary art education was developed and tested. The tool includes rubrics for assessing production and reception activities in art education and consists of visual and text rubrics. The criteria in the rubrics are based on the Common European Framework of Reference for Visual Literacy which was developed by The European Network of Visual Literacy (ENViL). The way teachers and students use the rubrics, whether they consider them helpful and to what extent students’ self‐assessments are in line with teacher assessments was studied. It was concluded that teachers work with the rubrics intensively and both students and teachers appreciate its visual form. However, it was found that the agreement between teachers and students about the students’ scores was moderate and needed to improve. The results show that it is untrue that students, or boys in particular, overestimate their own performance in art education. The current study contributes to the development of feasible and valid assessment criteria and instruments in secondary art education.     

Distance Artist: Building the Skills of Future Creatives. Developing Evidence‐Based Criteria for Global Virtual Team Tutoring and Management in Art and Design Education

This article reflects on six years of research activities in the field of long‐distance collaboration and more specifically on how creative virtual teams operate and respond to challenges set by emerging and developing technologies. Furthermore, it considers how to build, manage and shape a more inclusive virtual team, documenting the methodologies applied in each activity, the experiences of both tutors and students and the educational context in which the international study took place. The project set out with a methodology for observing, managing and developing the interaction dynamics between each creative team member involved in the design of activities and practice of delocalized teams. The project is positioned within the field of educational technology and identifies a set of operative recommendations aimed at educators so that remote creative collaborative work can result most effective. The article explores the potential of virtual teams supporting communication and design.     

Problem‐based learning in regional anatomy education at Peking University

Problem‐based learning (PBL) has been introduced to medical schools around the world and has increasingly become a popular pedagogical technique in Asian countries since 1990. Gross anatomy is a fundamental basic science course in virtually all medical training programs, and the methods used to teach it are under frequent scrutiny and revision. Students often struggle with the vast collection of new terms and complex relationships between structures that they must learn. To help students with this process, our department teaches separate systemic and regional anatomy courses, the latter in a PBL format. After three years of using PBL in our regional anatomy course, we have worked out a set of effective instructions that we would like to share with other medical schools. We report here evidence that our clinical PBL approach stimulates students' interest in learning and enhances anatomy education in a way that can foster better practices in our future medical work force. Anat Sci Educ. © 2010 American Association of Anatomists.     

Developing Food Science Core Competencies in Vietnam: The Role of Experience and Problem Solving in an Industry‐Based Undergraduate Research Course

Although many educators now recognize the value of problem‐based learning and experiential learning, undergraduate‐level food science courses that reflect these pedagogical approaches are still relatively novel, especially in East and Southeast Asia. Leveraging existing partnerships with farmers in Vietnam, a food science course for students at Nong Lam Univ. was designed and taught. The aim was to give students the opportunity to work in small groups and conduct evidence‐based research with farmers, apply food science principles, and develop Success Skills, including the ability to think critically and communicate clearly. Drawing on the experience of 2 student groups, this exploratory study describes what students learned from the process of conducting research. In one group, students learned to work through and resolve the challenge of initial disagreement and misunderstanding with farmers and ultimately carried out a project that aligned with the students’ research interests and farmers’ needs. Another group of students learned to consider the financial limitations of farmers when attempting to develop solutions for problems and ultimately worked with farmers to address a different problem that was less financially taxing. It is important to note the challenges of planning and teaching a course in which instructors are not able to predict exactly what students will learn or experience. This is largely dependent on each student's prior knowledge, experiences, and interests; yet this study demonstrates the transformative potential of teaching a research‐based food science course that gives students authentic opportunities to identify and address real‐world challenges.     

Using Thematic Analysis to Facilitate Meaning‐Making in Practice‐Led Art and Design Research

This article argues that thematic analysis could aid artist‐researchers in enhancing the arguments they construct in their fields of interest as they move through research projects. It discusses some of the distinctive features and obstacles of practice‐led research in art and design and relates them to the use of thematic analysis. Artistic research often includes acts of interpretation, where the artist‐researcher reflects on his or her artistic work process and the context of the artefacts created during the process. A systematic thematic approach is important for the whole process, because it supports the separate work periods of artmaking and conceptualising and binds them to the study. In its theoretical freedom, thematic analysis provides a flexible and useful research tool that can bridge the two realms of knowing in practice‐led research, potentially providing a rich and synthesised account of the creative experience. The benefits of thematic analysis will be demonstrated by examining two examples.     

The Use of Activity Theory as a Methodology for Developing Creativity within the Art and Design Classroom

This article discusses the use of an activity theory system as an analytical tool within the school art and design classroom. It highlights reasons for its use and makes explicit its importance for investigations into teaching and learning. It proposes that through an activity theory system, teachers and researchers are enabled to reflect on the formation of thought and develop an understanding of pedagogy, where classroom roles, rules and participation are made visible. The article draws on primary research which explores the development of creativity within the English Key Stage 3 (age 11–14) art and design classroom. Illustrations are provided to show how through the use of an activity theory system a multi‐layered analysis took place. This generated reflection on relationships and structures within and surrounding the classroom, impinging creative activity. Through using the activity theory system teachers and researchers were enabled to observe the complexity of the classroom and question socio‐cultural‐political structures which empowered change.     

Legacy Projects: Helping Young People Respond Productively to the Challenges of a Changing World

How might educators help young people respond to current and future challenges of a changing world? In this article, I describe how educators can design Legacy Projects to provide young people with opportunities to make positive and lasting differences in their lives, schools, communities, and beyond. The connection between legacy projects and the kinds of transformative leadership skills outlined in Sternberg’s (2017) Active Concerned Citizenship and Ethical Leadership (ACCEL) model is also discussed.     

From a Disciplinary to an Interdisciplinary Design Research: Developing an Integrative Approach for Design

As the new generation of designers face more complex design issues, the forms of design research start to shift towards a user‐centred approach to problem‐solving. The cooperation and communication among various fields and specialisations are becoming more complex; in many practical design cases, in particular, technology developers face challenges in deciphering the creative ideas of designers and the needs and restraints of users, society, law and science. The emergence of integrative design based on a wide range of disciplines has prompted discussion and exploration among various participants. The direction of contemporary design research has already transformed from one based on production of artefact to one focused on the integration of varied knowledge and fields at different stages. We examine such design research based on a problem‐driven approach in two case studies characterised by interdisciplinary collaboration for solving complex problems. We focus on the transformation and implementation of integrative design research methods and suggest a ‘reflection‐in‐action’ problem‐solving process for strengthening the capabilities of multidisciplinary design research.     

Group in‐course assessment promotes cooperative learning and increases performance

The authors describe and evaluate a method to motivate medical students to maximize the effectiveness of dissection opportunities by using In‐Course‐Assessments (ICAs) to encourage teamwork. A student's final mark was derived by combining the group dissection mark, group mark for questions, and their individual question mark. An analysis of the impact of the ICA was performed by comparing end of module practical summative marks in student cohorts who had, or had not, participated in the ICAs. Summative marks were compared by two‐way ANOVA followed by Dunnets test, or by repeated measures ANOVA, as appropriate. A cohort of medical students was selected that had experienced both practical classes without (year one) and with the new ICA structure (year two). Comparison of summative year one and year two marks illustrated an increased improvement in year two performance in this cohort. A significant increase was also noted when comparing this cohort with five preceding year two cohorts who had not experienced the ICAs (P <0.0001). To ensure that variation in the practical summative examination was not impacting on the data, a comparison was made between three cohorts who had performed the same summative examination. Results show that students who had undertook weekly ICAs showed significantly improved summative marks, compared with those who did not (P <0.0001). This approach to ICA promotes engagement with learning resources in an active, team‐based, cooperative learning environment. Anat Sci Educ 7: 224–233. © 2013 American Association of Anatomists.     

Opportunities and Challenges in Collaborative Reform Practice: School–Community Partnerships through Art in Korean Schools

The Korean government’s policy toward art in schools and educational autonomy has recently undergone major directional changes, with the Ministry of Education (MOE) encouraging individual schools to find their own ways to become more self‐regenerating, especially by developing community partnerships through art. This recently published policy direction has the potential to challenge traditional school practice as it demands an initiative role of schools and the active involvement of teachers in building partnerships with local communities. Concerned about the impact of the new school art policy on practice, this article attempts to clarify the opportunities and challenges involved in the expected collaborative reform practice by examining the outcomes reported by pilot schools based on their first year of implementing the new school art policy. To this end, this article first identifies the distinctive aspects of the new policy from previous studies on school–community partnerships developed in Korea over the past decade. This is followed by an identification of practical issues and needs by reviewing the outcomes of recent survey results on the perceptions of teachers who participated in conventional school–community partnership programmes. These results will be compared to the problems found in the outcomes reported by pilot schools. Findings will be discussed to assess implications and provide suggestions. This contextual analysis of practitioners’ responses to new art‐based collaborative reform practices developing in Korea may contribute to an expansion of international discussions about educational reform through art.     

Developing creativity and problem-solving skills of engineering students: a comparison of web- and pen-and-paper-based approaches

Problem-solving is a key engineering skill, yet is an area in which engineering graduates underperform. This paper investigates the potential of using web-based tools to teach students problem-solving techniques without the need to make use of class time. An idea generation experiment involving 90 students was designed. Students were surveyed about their study habits and reported they use electronic-based materials more than paper-based materials while studying, suggesting students may engage with web-based tools. Students then generated solutions to a problem task using either a paper-based template or an equivalent web interface. Students who used the web-based approach performed as well as students who used the paper-based approach, suggesting the technique can be successfully adopted and taught online. Web-based tools may therefore be adopted as supplementary material in a range of engineering courses as a way to increase students’ options for enhancing problem-solving skills.     

‘I – from dreams to reality’: A Case Study of Developing Youngsters’ Self‐Efficacy and Social Skills through an Arts Educational Project in Schools

This is a case study of a one‐year arts educational project ‘I – from dreams to reality’ in which artists worked at school with teachers and learning at the school was planned through arts‐based, co‐operative teamwork during one extra school year of 10th grade students in Finnish basic education. The theme of the year was ‘I’, and so the project was designed to highlight everyone's own way of thinking and expressing art. The research task was to determine whether long‐term holistic arts pedagogy and artist co‐operation at school have any significant connection to students’ self‐efficacy and social skills. Data has been collected through students’ self‐evaluations before and after the school year. Altogether 40 students from 10th grade participated in this case study. Half of the pupils participated in an arts educational project called ‘I – from dreams to reality’ and half formed the control group. Artists worked with the test group weekly during a period of one school year (altogether nine months). Students’ self‐evaluations concerning their self‐efficacy and social behaviour were collected by e‐questionnaire. The measures used were Likert‐based evaluation scores of pupils’ self‐assessment of their self‐efficacy and social behaviour in everyday situations at school. According to the results, artist–teacher co‐operation and learning through the arts can be worthwhile experiences to develop students’ self‐efficacy and social skills.     

Community‐Based Art Education in China: Practices,Issues and Challenges

Art educators have been promoting Community‐Based Art Education (CBAE) in schools in order to enhance students’ sense of socio‐cultural identity and contextual learning about local art and culture. It cannot only bridge the gap between the students’ daily lives and the communities and art, but can also enhance their inquiry, discovery and meaning‐making abilities. In China, the community‐based approach plays a significant role in the National Standards for Visual Arts, and Chinese art educators have been applying CBAE in school art education for decades. However, Western art educators are still unfamiliar with the issues, practices and challenges related to CBAE in China owing to language constraints. In light of the above, this article aims to initiate a dialogue between Western and Chinese CBAE researchers through discourse and discussions on the main issues related to CBAE in Chinese art education. It outlines current practices of, and issues related to, CBAE from the perspective of Chinese art education. It also discusses the three major challenges to the implementation of CBAE in China, namely the conflict between indigenous knowledge and official knowledge in the school art curriculum, lack of motivation among teachers, and neglect of context in the practice of local art in schools. It is hoped that this article it will enrich our overall knowledge of CBAE and contribute to the understanding of CBAE from a global perspective.