How To Be A Design Student And How To Teach Them

Designer, artist, and educator Mitch Goldstein's experience as student and teacher gives guidance and inspiration to help students get the most out of design school. Life as a design student is filled with questions. Rochester Institute of Technology Associate Professor of Design Mitch Goldstein has many answers, shared in clear, clever, and sage advice that is helpful for students at any level of their education, as well as anyone thinking about attending design school and wondering what it's really all about. For design students and art professionals, Goldstein is a brilliant resource for real-world thoughts about design school and creative practice. Drawing on 16 years of teaching design and his popular "Dear Design Student" Twitter project, Goldstein explores all aspects of how to get the most out of the school experience, and beyond as a creative professional. From collaboration and critiques to practice and process, this is an inspiring roadmap for design students as well as a valuable guide for design professors to help them understand how to shape curriculum from a student's perspective and better the collaborative experience. Goldstein's insightful essays cover such topics as: Why go to design school What actually happens in your classes during your time at design school What kind of assignments you can expect How critiques work What you're actually expected to do on a daily basis How to translate ideas into paying client projects How to make things that will get you a job And much more

What is understanding and how does it differ from knowledge? How can we determine the big ideas worth understanding? Why is understanding an important teaching goal, and how do we know when students have attained it? How can we create a rigorous and engaging curriculum that focuses on understanding and leads to improved student performance in today's high-stakes, standards-based environment? Authors Grant Wiggins and Jay McTighe answer these and many other questions in this second edition of Understanding by Design. Drawing on feedback from thousands of educators around the world who have used the UbD framework since its introduction in 1998, the authors have greatly revised and expanded their original work to guide educators across the K-16 spectrum in the design of curriculum, assessment, and instruction. With an improved UbD Template at its core, the book explains the rationale of backward design and explores in greater depth the meaning of such key ideas as essential questions and transfer tasks. Readers will learn why the familiar coverage- and activity-based approaches to curriculum design fall short, and how a focus on the six facets of understanding can enrich student learning. With an expanded array of practical strategies, tools, and examples from all subject areas, the book demonstrates how the research-based principles of Understanding by Design apply to district frameworks as well as to individual units of curriculum. Combining provocative ideas, thoughtful analysis, and tested approaches, this new edition of Understanding by Design offers teacher-designers a clear path to the creation of curriculum that ensures better learning and a more stimulating experience for students and teachers alike.

An exploration of how design might be led by marginalized communities, dismantle structural inequality, and advance collective liberation and ecological survival. What is the relationship between design, power, and social justice? “Design justice” is an approach to design that is led by marginalized communities and that aims expilcitly to challenge, rather than reproduce, structural inequalities. It has emerged from a growing community of designers in various fields who work closely with social movements and community-based organizations around the world. This book explores the theory and practice of design justice, demonstrates how universalist design principles and practices erase certain groups of people—specifically, those who are intersectionally disadvantaged or multiply burdened under the matrix of domination (white supremacist heteropatriarchy, ableism, capitalism, and settler colonialism)—and invites readers to “build a better world, a world where many worlds fit; linked worlds of collective liberation and ecological sustainability.” Along the way, the book documents a multitude of real-world community-led design practices, each grounded in a particular social movement. Design Justice goes beyond recent calls for design for good, user-centered design, and employment diversity in the technology and design professions; it connects design to larger struggles for collective liberation and ecological survival.

Learning to Teach Art and Design in the Secondary School advocates art, craft and design as useful, critical, transforming, and therefore fundamental to a plural society. It offers a conceptual and practical framework for understanding the diverse nature of art and design in education at KS3 and the 14-19 curriculum. It provides support and guidance for learning and teaching in art and design, suggesting strategies to motivate and engage pupils in making, discussing and evaluating visual and material culture. With reference to current debates, Learning to Teach Art and Design in the Secondary School explores a range of approaches to teaching and learning, it raises issues, questions orthodoxies and identifies new directions. The chapters examine: ways of learning planning and resourcing attitudes to making critical studies values and critical pedagogy. The book is designed to provide underpinning theory and address issues for student teachers on PGCE and initial teacher education courses in Art and Design. It will also be of relevance and value to teachers in school with designated responsibility for supervision.

A guide for designers, covering everything they need to know about building a successful career after graduating. With record numbers of design and advertising students graduating into the job market each year, it makes more sense now than ever before to be fully armed to succeed. This book helps new designers make the transition from design school to work, giving them the ammunition they need for a successful start. Here the reader will learn how to get that all-important first job, and how to impress their new employer. They will also have at their fingertips plenty of useful, practical information essential to know in the design studio and when working for clients. Enriched with quotes and advice from some of the best and brightest in the industry, this book is where you will find out what they didn't teach you in design school.

This book offers a rare chance to read what graphic designers feel about their education and profession. Fifty influential designers give the low-down about their student days and their professional lives. A piece of their college work is shown alongside an example of current work. Each designer also offers a key piece of advice and a warning, making this a must-read for anyone embarking on a career in design. The book looks at the process a designer goes through in finding their 'voice'. Topics addressed include how ideas are researched and developed; design and other cultural influences, then and now; positive and negative aspects of working as a designer; motivations for becoming a designer; and whether it's really possible to teach design. Contributors include Stefan Sagmeister, James Goggin, Karlssonwilker, Studio Dumbar, Cornel Windlin, Daniel Eatock, Spin, Hyperkit and Christian Küsters.

This practical handbook for designing and teaching hybrid or blended courses focuses on outcomes-based practice. It reflects the author’s experience of having taught over 70 hybrid courses, and having worked for three years in the Learning Technology Center at the University of Wisconsin-Milwaukee, a center that is recognized as a leader in the field of hybrid course design. Jay Caulfield defines hybrid courses as ones where not only is face time replaced to varying degrees by online learning, but also by experiential learning that takes place in the community or within an organization with or without the presence of a teacher; and as a pedagogy that places the primary responsibility of learning on the learner, with the teacher’s primary role being to create opportunities and environments that foster independent and collaborative student learning. Starting with a brief review of the relevant theory – such as andragogy, inquiry-based learning, experiential learning and theories that specifically relate to distance education – she addresses the practicalities of planning a hybrid course, taking into account class characteristics such as size, demographics, subject matter, learning outcomes, and time available. She offers criteria for determining the appropriate mix of face-to-face, online, and experiential components for a course, and guidance on creating social presence online.The section on designing and teaching in the hybrid environment covers such key elements as promoting and managing discussion, using small groups, creating opportunities for student feedback, and ensuring that students’ learning expectations are met. A concluding section of interviews with students and teachers offers a rich vein of tips and ideas.

“Breathtaking in its scope and wonderfully illuminating. . . . one of the most powerfully convincing characters in recent historical fiction.” —Alberto Manguel, The Guardian Gossip was rife in the capital about the poetess of Qazvin. Some claimed she had been arrested for masterminding the murder of the grand Mullah, her uncle. Others echoed her words, and passed her poems from hand to hand. Everyone spoke of her beauty, and her dazzling intelligence. But most alarming to the Shah and the court was how the poetess could read. As her warnings and predictions became prophecies fulfilled, about the assassination of the Shah, the hanging of the Mayor, and the murder of the Grand Vazir, many wondered whether she was not only reading history but writing it as well. Was she herself guilty of the crimes she was foretelling? Set in the world of the Qajar monarchs, mayors, ministers, and mullahs, this book explores the dangerous yet luminous legacy left by a remarkable person. Bahiyyih Nakhjavani offers a gripping tale that is at once a compelling history of a pioneering woman, a story of nineteenth century Iran told from the street level up, and a work that is universally relevant to our times. “Mordant and seethingly intelligent.” —Sam Sacks, Wall Street Journal “An engrossing story.” —Gayatri Devi, World Literature Today “Haunting . . . reminds us all that whether Tudor, Qajar, or Clinton, behind every throne is a queen mother, wife, and sister who runs the show.” —Davar Ardalan, Washington Independent Review “Nakjavani offers a philosophically complex yet lyrically wrought examination of the eternal struggle for women’s rights.” —Carol Haggas, Booklist “Nakhjavani deftly transforms an incomplete history into legend. . . . An expertly crafted epic.” —Kirkus Reviews