The understanding of avatar design : various types and styles of avatars and the design considerations

People have adopted various formats of media such as graphics, photo and text (nickname) in order to represent themselves when communicate with others online. Avatar is known as a visual form representing a user oneself and one's identity wished. Its form can vary from a two-dimensional model to a three-dimensional model, and can be visualised with various visual forms and styles. In general, two-dimensional images including an animated image are used in online forum communities and live chat software; while three-dimensional models are often used in computer games. Avatar design is often regarded as a graphic designer's visual image creation or a user's output based on one's personal preference, yet it often causes the avatar design having no consideration of its practical visual design and users' interactive communication experience aspects. This paper will review various types and styles of avatar and discuss about avatar design from visual design and online user experience perspectives. It aims to raise a design discourse in avatar design and build up a well-articulated set of design principles for effective avatar design.

User-designer collaboration during the early stage of the product development process

As an understanding of users' tacit knowledge and latent needs embedded in user experience has played a critical role in product development, users’ direct involvement in design has become a necessary part of the design process. Various ways of accessing users' tacit knowledge and latent needs have been explored in the field of user-centred design, participatory design, and design for experiencing. User-designer collaboration has been used unconsciously by traditional designers to facilitate the transfer of users' tacit knowledge and to elicit new knowledge. However, what makes user-designer collaboration an effective strategy has rarely been reported on or explored. Therefore, interaction patterns between the users and the designers in three industry-supported user involvement cases were studied. In order to develop a coding system, collaboration was defined as a set of coordinated and joint problem solving activities, measured by the elicitation of new knowledge from collaboration. The analysis of interaction patterns in the user involvement cases revealed that allowing users to challenge or modify their contextual experiences facilitates the transfer of knowledge and new knowledge generation. It was concluded that users can be more effectively integrated into the product development process by employing collaboration strategies to intensify the depth of user involvement.

National numeracy tests : a graphic tells a thousand words

Mandatory numeracy tests have become commonplace in many countries, heralding a new era in school assessment. New forms of accountability and an increased emphasis on national and international standards (and benchmarks) have the potential to reshape mathematics curricula. It is noteworthy that the mathematics items used in these tests are rich in graphics. Many of the items, for example, require students to have an understanding of information graphics (e.g., maps, charts and graphs) in order to solve the tasks. This investigation classifies mathematics items in Australia’s inaugural national numeracy tests and considers the effect such standardised testing will have on practice. It is argued that the design of mathematics items are more likely to be a reliable indication of student performance if graphical, linguistic and contextual components are considered both in isolation and in integrated ways as essential elements of task design.

What is in the name of a fashion designer

Currently, fashion quite comfortably covers the space between unique pieces and serialisation, mobilising as necessary the discourses of art or commerce; however, the question of what a fashion designer is remains open. Historically, the image of the fashion designer has been constructed within a heroic and Romantic narrative centred on the concept of designers as artists and hence authors. The recent development of the fashion industry as an image-driven industry, on the one hand, and the placement of fashion in museum contexts on the other, requires a re-thinking of the function of the designer. This paper does not set out to identify a theory that establishes a truthful answer to the position and significance of the fashion designer within the fashion system, but it proposes that an analytical and critical understanding of the fashion designer requires a contextualisation of the philosophies and institutions (including fashion magazines and fashion criticism) that support it.

The role of fluency in a mathematics item with an embedded graphic: Interpreting a pie chart.

The purpose of this study was to identify the pedagogical knowledge relevant to the successful completion of a pie chart item. This purpose was achieved through the identification of the essential fluencies that 12–13-year-olds required for the successful solution of a pie chart item. Fluency relates to ease of solution and is particularly important in mathematics because it impacts on performance. Although the majority of students were successful on this multiple choice item, there was considerable divergence in the strategies they employed. Approximately two-thirds of the students employed efficient multiplicative strategies, which recognised and capitalised on the pie chart as a proportional representation. In contrast, the remaining one-third of students used a less efficient additive strategy that failed to capitalise on the representation of the pie chart. The results of our investigation of students’ performance on the pie chart item during individual interviews revealed that five distinct fluencies were involved in the solution process: conceptual (understanding the question), linguistic (keywords), retrieval (strategy selection), perceptual (orientation of a segment of the pie chart) and graphical (recognising the pie chart as a proportional representation). In addition, some students exhibited mild disfluencies corresponding to the five fluencies identified above. Three major outcomes emerged from the study. First, a model of knowledge of content and students for pie charts was developed. This model can be used to inform instruction about the pie chart and guide strategic support for students. Second, perceptual and graphical fluency were identified as two aspects of the curriculum, which should receive a greater emphasis in the primary years, due to their importance in interpreting pie charts. Finally, a working definition of fluency in mathematics was derived from students’ responses to the pie chart item.

User-designer collaboration during the early stage of the design process

As user involvement becomes a necessary part of the product development process, various ways of accessing users' latent needs have been developed and studied. Reviews of literatures in user involvement and product development have revealed that accessing users' latent needs and transferring them into design process could be facilitated by effectively implementing user-designer collaboration during the early stage of the design process. In this paper, various types of user-designer collaboration were observed and then distinct characteristics of user-designer collaboration were classified into three categories. 1) Passive objectivity, 2) workplace democratisation, and 3) shared contexts were observed as strategies for better user-designer collaboration, which have been employed in the area of user-centred design, user participatory design and design for experiencing. Based on the literature review, this paper proposed a basic collaboration mechanism between the users and the designers during the early stage of the design process and then discussed how its mechanism will help to describe the interactions between the users and the designers during the user involvement sessions.

Windscape

Windscape is a graphic work produced from information gathered in the field by the author. A number of measurement methods were employed including: Real Tine Kinematic Global Positioning System survey (RTKGPS), still photography, plant distribution studies and handheld GPS survey. This creative work is one outcome of the author’s research into a design methodology wherein the designer conducts their own measurements and then produces their own maps of sites. Windscape is a test of the hypothesis that such maps have greater relevance to the design process due to the manner in which they are created (site based research) and the information they depict, namely the relationships between landscape processes and structures.

Digital design communication : measuring learner technological prowess and self-efficacy in problem resolution

Currently the Bachelor of Design is the generic degree offered to the four disciplines of Architecture, Landscape Architecture, Industrial Design, and Interior Design within the School of Design at the Queensland University of Technology. Regardless of discipline, Digital Communication is a core unit taken by the 600 first year students entering the Bachelor of Design degree. Within the design disciplines the communication of the designer's intentions is achieved primarily through the use of graphic images, with written information being considered as supportive or secondary. As such, Digital Communication attempts to educate learners in the fundamentals of this graphic design communication, using a generic digital or software tool. Past iterations of the unit have not acknowledged the subtle difference in design communication of the different design disciplines involved, and has used a single generic software tool. Following a review of the unit in 2008, it was decided that a single generic software tool was no longer entirely sufficient. This decision was based on the recognition that there was an increasing emergence of discipline specific digital tools, and an expressed student desire and apparent aptitude to learn these discipline specific tools. As a result the unit was reconstructed in 2009 to offer both discipline specific and generic software instruction, if elected by the student. This paper, apart from offering the general context and pedagogy of the existing and restructured units, will more importantly offer research data that validates the changes made to the unit. Most significant of this new data is the results of surveys that authenticate actual student aptitude versus desire in learning discipline specific tools. This is done through an exposure of student self efficacy in problem resolution and technological prowess - generally and specifically within the unit. More traditional means of validation is also presented that includes the results of the generic university-wide Learning Experience Survey of the unit, as well as a comparison between the assessment results of the restructured unit versus the previous year.

"I'm a designer, get me out of tech class!" : closing the gap between design and technology education

The following paper explores the use of collaborative pedagogical approaches to advance foundational architectural design education, by linking design process to sustainable technology principles. After a brief discussion on architectural design education, the mentioned collaborative approach is described. This approach facilitates students’ exchange of knowledge between two courses, despite no explicit/assessable requirement to do so. The result for the students is deeper learning and a design process that is enriched through collaboration with sustainable technology. The success of this approach has been measured through questionnaires, evaluation surveys, and a comparative assessment of students common to both courses. The paper focuses on the challenges and innovations in connecting architectural design and technology education, where students are encouraged to implement lessons learnt, thereby closing the gap that these courses have traditionally represented.

Enhancing the teaching of family and consumer sciences : the role of graphic organisers

In a world of constant and rapid change there are greater demands placed on learners to not only gain content knowledge, but also to develop learning skills and to adopt new strategies that will enable them to produce better and faster learning outcomes. Especially in internationally advancing nations like Kuwait this will be a major challenge of the future. This literature review examines theoretical frameworks that enhance Kuwaiti teachers’ knowledge and skill to adopt culturally relevant reform practices across a number of disciplines and provide guidance in an exploration and use of newer pedagogical tools like graphic organisers. It analyses the effects of graphic organisers on higher order learning and evaluates how they can effect professional development and pedagogical change in Kuwait.

Learning by design workshop

The Learning by Design Workshop Program 2010, a part of the Queensland Government Unlimited: Designing for the Asia Pacific Event Program, was a one-day professional development design thinking workshop run on October 9, 2011 at The Edge, State Library of Queensland for self-selected public and private secondary school teachers from the subject areas of Visual Art, Graphics and Industrial Technology and Design. Participants were drawn from a database of Brisbane and regional Queensland schools from the goDesign and Living City Workshop Programs. It aimed to generate leadership within schools for design-led education and creative thinking and give teachers a rare opportunity to work with professional designers to generate future strategies for design-based learning. Teachers were introduced to the concept of design thinking in education by international keynote speakers CJ Lim (Studio 8 Architects) and Jeb Brugmann (The Next Practice), national speaker Oliver Freeman (NevilleFreeman Agency) and three Queensland speakers, Alexander Loterztain, David Williams and Keith Holledge. Inspired by the Unlimited showcase exhibition Make Change: Design Thinking in Action and ‘Idea Starters’/teaching resources provided, teachers worked with a professional designer (from a discipline of architecture, interior design, industrial design, urban design, graphic design or landscape architecture) in ten random teams, to generate optimistic ideas for the Ideal City of tomorrow, each considering a theme – Food, Water, Transport, Ageing, Growth, Employment, Shelter, Health, Education and Energy. They then discussed how this process could be best activated and expanded on to build interest and knowledge in design thinking in the classroom. Assisted by illustrators, the teams prepared a visual presentation of their ideas and process from art materials provided. The workshop culminated in a video-taped interactive design charette to the larger group, which is intended to be utilised as a toolkit and praxis for teachers as part of the State Library of Queensland Design Minds Website Project.

Generation workshop 2010

The Generation Workshop Program 2010, a part of the Queensland Government Unlimited: Designing for the Asia Pacific Event Program, consisted of two one-day intensive design thinking workshops run on October 7-8, 2011 at The Edge, State Library of Queensland, for 100 senior secondary students and 20 secondary teachers self-selected from the subject areas of Visual Art, Graphics and Industrial Technology and Design. Participants were drawn from a database of Brisbane and regional Queensland private and public schools from the goDesign and Living City Workshop Programs. The workshop aimed to facilitate awareness in young people of the role of design in society and the value of design thinking skills in solving complex problems facing the Asia Pacific Region, and to inspire the generation of strategies for our future cities. It also aimed to encourage the collaboration of professional designers with secondary schools to inspire post-secondary pathways and idea generation for education. Inspired by international and national speakers Bunker Roy (Barefoot College) and Hael Kobayashi (Associate Producer on "Happy Feet" film for Australia's Animal Logic), the Unlimited showcase exhibition Make Change: Design Thinking in Action and ‘Idea Starters’/teaching resources provided, students worked with a teacher in ten random teams, to generate optimistic strategies for the Ideal City of tomorrow, each considering a theme – Food, Water, Transport, Ageing, Growth, Employment, Shelter, Health, Education and Energy. Each team of 6 was led by a professional designer (from the discipline of architecture, interior design, industrial design, urban design, graphic design or landscape architecture) who was a catalyst for driving the student creative thinking process. Assisted by illustrators, the teams prepared a visual presentation of their idea from art materials provided. The workshop culminated in a video-taped interactive design chatter to the larger group, which will be utilised as a toolkit and praxis for teachers as part of the State Library of Queensland Design Minds Project. Photos of student design work were published on the Unlimited website.

Design process excludes users : the co-creation activities between user and designer

User needs are a fundamental element of design. If the design process does not properly reflect user needs, the design will be severely compromised. Therefore, it is worthwhile to investigate how the user is, and user needs are, understood in the design process. In this article, three accepted linear process models for web site and interactive media design are reviewed in terms of the designer and user participation. The article then proposes a user-evolving collaborative design process which is built on co-creation activities between designer and user. Co-creation activities across the entire design process structurally and ontologically reposition the users, and user needs, centrally, which allows the designers to holistically approach to the user needs through building a partnership with the users. Co-creation creates an equal evolving participatory process between user and designer towards sharing values and knowledge and creating new domains of collective creativity.