浅谈多媒体教学软件的创意设计

多媒体教学软件的制作离不开创意设计。好的创意设计是在技术支持下实现的,能充分展示多媒体教学软件的教育功能,让学习者在视学传达方面受到感染和熏陶,带给学习者人文和艺术等美学享受。     

从心理学层面看艺术设计教育中创新能力的培养

文章从心理学的角度就如何在艺术设计教育中培养学生创新能力展开论述。通过对艺术设计学科属性的探讨得出艺术设计活动过程中创造性思维的特点。并通过分析非随意创造性思维活动的加工方式和心理操作模型提出在艺术设计教育中应该注意艺术和文化对设计创新思维的促进作用,并同时指出培养理性思维的重要性。     

广告图形创意中的创造性思维训练

通过探讨广告图形创意中创造性思维的本质和规律,在广告图形创意中加强学生的创造性思维的训练,使学生在广告创意形象表现中丰富主题的审美内涵,增强广告视觉的艺术感染力和预期效果。     

Analysing Creative Design Process: A Set of Tools to Understand Activity in its Socio-cultural and Historic Context

Previous theoretical frameworks used to research and explain creative design processes tend to privilege individual expression and not address the context in which the process occurs. This is problematic due to the ways in which creative activities are embedded in and shaped by socio-cultural and historic contexts. In this article we focus on the ways in which cultural historic activity theory (CHAT) and its analytical activity systems can be used to reveal creative processes in context. We draw on the tools and concepts of CHAT and data from a study of visual communication design (VCD) students and lecturers situated within a transnational higher education (TNHE) context at a university in China. An analytical framework was constructed to research practices used in creative design process learning. The dynamic nature of CHAT offers design process research methods a set of analytical tools to capture the powerful parts played by artifacts and interactions within specific sociocultural and historic learning contexts.     

Design Pedagogy for an Unknown Future: A View from the Expanding Field of Design Scholarship and Professional Practice

This article draws on current research investigating the notion of design for an unknown future. It reflects on recent thinking about the role of creativity in design practice and discusses implications for the development and assessment of creativity in the design studio. It begins with a review of literature on the issues and challenges associated with the assessment of creativity in design education. It then discusses and distinguishes three significant assessment models in design and creative arts education and emphasises the importance of opening debate on notions of creativity within the discipline. Following this, the article examines recent developments in the way that creativity is being practised, driven, fostered and implemented in contemporary design practice, and argues that these recent developments must feature in current scholarship about the development and assessment of creativity in design education. The article recommends areas for future research that pay close attention to developments in the rapidly expanding field of design practice.     

关于《图形创意思维与表现》课程设计的探讨

《图形创意思维与表现》课程通过图形训练有效地解决平面设计中的视觉创意问题,培养学生形象思维的能力。课程设计为图形创意概述、图形创意思维方法、图形创意构成形式、图形创意表现方法、图形创意程序、图形创意应用六大模块。     

Supporting Creative Responses in Design Education – The Development and Application of the Graphic Design Composition Method

Inspiration is the primary element of good design. Designers, however, also risk not being able to find inspiration. Novice designers commonly find themselves to be depressed during the conceptual design phase when they fail to find inspiration and the information to be creative. Accordingly, under the graphic design parameter, we have developed the ‘Analytic Composition Method (ACM)’ to guide novice designers in gradually breaking through their usual modes of thinking to construct their own methods of composition. This method provides a variety of creative modes for the design field. Three stages are presented in this study. A design method is first constructed based on the results of a pretest and the existing composition methods of graphical design. We then apply the design method to three iterations of graphic design instruction. Lastly, we conduct an expert interview to evaluate the usefulness of this method. The following are the results obtained. 1. Most of the participants tested sought inspiration visually; they usually began their design process from image data and do not use the data beyond imagery. 2. The results of teaching activities show that using this method as a tool for graphic design enables various sources of inspiration to generate different modes of thinking and creative expression. 3. Our method could potentially be used for basic composition training and project design execution. However, the application of this method may vary with different design objectives.     

艺术设计类课程中创意设计训练的教学研究

创意是艺术设计的核心,创意设计训练的教学研究对于艺术类课程来说非常重要。论文分析出创意设计训练教学模式的五大特点,为创意设计训练的教学模式提出:主题研讨、创意表达、设计实施、评价等四个教学环节。     

概念书籍设计教学的思考

概念书籍设计是一门培养学生将书籍艺术形态转换成有效表现思想创造性设计启迪教育的课程,可以展现学生的创造力,目的是尽可能地激发学生的创造性思维,启发积极的创新性思想、思维意识的习惯。作为一种个性化的、无定向的创造性活动,概念书籍设计为书籍设计提供了一种新的思维方式和各种选择的可能性。     

佛教艺术背景下的视觉设计

文章从视觉设计的思维及创作过程来探究佛教艺术对于现代设计的启示与影响,对佛教艺术中大量尚待了解的视觉图形是否能转化为视觉设计素材进行分析研究。在了解学习的基础上立足于设计实践,并从设计实践的过程中对佛教艺术的表现及影响进行探索性研究。     

基于多媒体的计算机数学远程教学一体化设计探析

远程开放教育最重要的一点就是为学生提供便于自主学习的一切学习资源和学习手段。透过对学习者的学习能力、学习习惯、学习条件、学习环境以及学习者自身的生理、心理特点等的分析,按照分层次把握、按过程设计、按对象实施、按效果落实的原则,构建多种媒体组合的、适合多个层面学习者远程学习的计算机数学课程一体化远程教学体系:教学资源建设(文字教材+网络课程)+教学模式建构+评价体系。     

论学习环境中资源、工具与评价的设计

本从学习环境设计理论与实践的角度，探讨了资源、工具与评价的设计与应用问题。在学习环境设计中，资源是支持任务学习或问题研究的必备条件之一，是需要认真设计的重要构件之一。学习环境中的工具是指学习工具。学习工具是指有益于学习查找、获取和处理信息，交流协作，建构知识，以具体的方法组织并表述理解和评价学习效果的中介。在学习环境设计中，比较注重信息技术作为学习工具的设计与应用。学习环境中的评价与传统的教学评价是不同的。为了真正促进学习能力的发展，学习必须体验解决真实问题的过程，理解复杂的学习任务。因此，评价应当尽可能是基于真实任务的、复杂的、能挑战学习思维过程的，评价的标准能反映多元化的观点和多样化的问题解决方案。     

开放教育毕业设计指导研究

开放教育强调学生的自主学习。师生可以处于准永久性的分离状态。因此开放教育毕业设计指导不完全同于普通高校的毕业设计指导，如何进行远程开放条件下毕业设计的指导是值得研究的课题。以长沙广播电视大学的实践为例。对开放教育毕业设计指导的模式、过程指导、提前介入和过程质量监控进行了研究，提出了有一定价值的模式和方法。     

论教学设计模式及其对可雇佣性教育的启示

文章从六个角度阐述了教学设计的定义,并论述了三个主要的教学设计模式。这些模式有三个主要的共同活动:分析、战略开发和评估。这些活动均与人员(如学习者和教育者)、教育材料、教育环境、教育方式、教育评估相关。只有结合可雇佣性本身的特点考虑可雇佣性教学,才能使可雇佣性教育具有可操作性。     

Apprehending the Creative Process through Drawing in the Foundation Design Studio

One of the main goals of design education is to enhance and enable creative thinking. Therefore, effectively teaching visual representational and interpretational skills is vital for the communication and articulation of such ideations. This article will explore examples from two specific introductory design studios where my personal pedagogical approach emphasises drawing as a creative language of reflection and critical conceptualisation. The aim of my approach accentuates the exploration any idea through drawing and thus allowing this graphic language to aid in the generation of creative thinking. Drawing, then, assumes the role of a research process concerned not only with the projection of thoughts, but with the study of correlations, and the consequent incorporation of perceptive and conceptual articulations.     

论艺术设计教育中创造性思维的培养

创造性思维是艺术设计中处于核心地位的思维能力,它以发散性思维为主要特征,讲究科学理性和艺术感性的融合,并强调灵感和直觉的运用。在艺术设计教育中培养学生的创造性思维能力,要让学生突破思维定势,学会发散思维;了解创造性思维的过程,学会捕捉灵感,形成创意;要改进评价机制,营造富有竞争力的艺术设计教学氛围来激励和启发学生的创造能力。     

数码技术应用于图形创意设计中的功能

艺术设计在21世纪已经进入了数字化时代,对图形创意设计的需求越来越多。传统固有的图形设计已经不能满足社会发展的需要,现代图形设计随着时代的发展和设计手段的不断更新,正在经历一个前所未有的视觉冲击时代。如何实现数码技术在图形创意设计中的功能作用及两者如何互相支持、发挥巨大优势,是摆在创意设计师面前的一个广阔领域。     

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.     

英语教学中的任务设计

外语教学中任务的主要作用是促进学习者的语言发展,培养语言的运用能力。不仅如此,任务还有助于实现课程目标中有关增进学习情感、学习态度等方面的要求,可以树立学生的自信心,激发他们的学习动机,培养学习策略、沟通策略、批判性思维及创造性,锻炼学生跨文化沟通的意识与能力。而要达到这些目标,就需要从不同的角度考虑教学和评价任务的设计,比如:教学目的,认知策略,学习者和任务设计者(设计过程)。     

Design Domain: Created Space,Creative Space

In this article, I describe and explore Design Domain, a large‐cohort course for which I am academic coordinator and which is enacted across six design programmes at the Glasgow School of Art (GSA). I unpack Design Domain’s context and intentionality as a ‘created space’, where student learners are exposed to different ways of thinking, making and doing, with an emphasis on working within discipline but pushing boundaries beyond the discipline. Next, I evaluate Design Domain as a ‘creative space’, unpacking its lineaments and evaluating its positives and challenges. Then, I set out initial reflections on the taxonomy of disciplinarities, arguing that these can be usefully reappraised when applied to a pedagogical framework like Design Domain, which blends predominantly individual learning with particular and specific points of collective commonality of purpose and action. Finally, I describe how I will go onto develop my understanding via an action research informed evaluation of a recent Design Domain project in Communication Design, where students of graphic design, photography and illustration worked together. I frame the type of critical questions I might ask of staff and student respondents in an action research informed evaluation study, and I offer a preliminary conclusion: that it is more appropriate to focus on ways of thinking than prescribing ways of doing, and that this might bring practice and process into a more adaptive theoretical framework.