Evaluating Visual Models of Writing in Art and Design in Pataki, G, Illes, A. Karpati, A. (Ed.). 2011. Art Space Education. International Association for Education through Art. Budapest Hungarian Art Teachers’ Association.ISBN 978-963-08-1595-6

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Abstract

This paper represents an ongoing research related to the specificity of teaching and learning in art and design as investigative and critical processes where historical study and theory are taught in relationship to studio practice. In this context, it reconsiders the place of the visual as central to writing in a practiced-based context. The research demonstrates through rigorous testing that design students develop ideas through visualization models and computer-generated forms of ‘writing’ and communication. It demonstrates that the critical analysis for students studying art and design sits within a visual model of thinking. The research project undertaken proposes a teaching/learning protocol based on visual knowledge and ‘visual writing’ that facilitate interaction at another level than the purely verbal. The ‘framework’, ‘mechanics’, ‘structural devices’ and the ‘narratology’ of visual writing, the use of moving images and filmmaking techniques enable students to open text-based discussions, to establish text and visual selection, scripts, story-boards, film-frame sketches – an equivalent visual vocabulary to that of linguistics. The results indicate that visual compositions enable students to communicate ideas fluently and that the visual becomes interactive media in the teaching and learning of history and theory of art and design,The visual narrative techniques proposed in this research are offered as tools for students who have difficulties processing information in written formats, and difficulties producing written essays. The project continues an ongoing research into visual models of writing as illustrated the article ‘Drawing Lines – Ambiguous Surfaces’, published on-line in the Journal of Contemporary Drawing Research, where drawing is studied in terms of its multiple functions, expressions and languages rather than a simple representational tool.

Conference

ConferenceInternational INSEA World Congress and Pre-Conference at Moholy-Nagi University of Art and Design, Budapest
Period1/01/11 → …
Internet address

Fingerprint

teachers' association
art
education
Teaching
student
art student
learning
interactive media
information processing
mechanic
visualization
vocabulary
research project
linguistics
narrative
communication
history
interaction
language

Keywords

  • visual writing
  • design histories
  • visualisation models
  • visual knowledge
  • visual vocabulary
  • teaching protocol

Cite this

@inproceedings{04f747691f484845af99cf3d316a62f4,
title = "Evaluating Visual Models of Writing in Art and Design in Pataki, G, Illes, A. Karpati, A. (Ed.). 2011. Art Space Education. International Association for Education through Art. Budapest Hungarian Art Teachers’ Association.ISBN 978-963-08-1595-6",
abstract = "This paper represents an ongoing research related to the specificity of teaching and learning in art and design as investigative and critical processes where historical study and theory are taught in relationship to studio practice. In this context, it reconsiders the place of the visual as central to writing in a practiced-based context. The research demonstrates through rigorous testing that design students develop ideas through visualization models and computer-generated forms of ‘writing’ and communication. It demonstrates that the critical analysis for students studying art and design sits within a visual model of thinking. The research project undertaken proposes a teaching/learning protocol based on visual knowledge and ‘visual writing’ that facilitate interaction at another level than the purely verbal. The ‘framework’, ‘mechanics’, ‘structural devices’ and the ‘narratology’ of visual writing, the use of moving images and filmmaking techniques enable students to open text-based discussions, to establish text and visual selection, scripts, story-boards, film-frame sketches – an equivalent visual vocabulary to that of linguistics. The results indicate that visual compositions enable students to communicate ideas fluently and that the visual becomes interactive media in the teaching and learning of history and theory of art and design,The visual narrative techniques proposed in this research are offered as tools for students who have difficulties processing information in written formats, and difficulties producing written essays. The project continues an ongoing research into visual models of writing as illustrated the article ‘Drawing Lines – Ambiguous Surfaces’, published on-line in the Journal of Contemporary Drawing Research, where drawing is studied in terms of its multiple functions, expressions and languages rather than a simple representational tool.",
keywords = "visual writing, design histories, visualisation models, visual knowledge, visual vocabulary, teaching protocol",
author = "ADRIANA IONASCU",
year = "2011",
language = "English",
isbn = "ISBN 978-963-08-1595-6",
editor = "G. Pataki and A. Karpati",
booktitle = "Unknown Host Publication",

}

IONASCU, ADRIANA 2011, Evaluating Visual Models of Writing in Art and Design in Pataki, G, Illes, A. Karpati, A. (Ed.). 2011. Art Space Education. International Association for Education through Art. Budapest Hungarian Art Teachers’ Association.ISBN 978-963-08-1595-6. in G Pataki & A Karpati (eds), Unknown Host Publication. International INSEA World Congress and Pre-Conference at Moholy-Nagi University of Art and Design, Budapest, 1/01/11.

TY - GEN

T1 - Evaluating Visual Models of Writing in Art and Design in Pataki, G, Illes, A. Karpati, A. (Ed.). 2011. Art Space Education. International Association for Education through Art. Budapest Hungarian Art Teachers’ Association.ISBN 978-963-08-1595-6

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N2 - This paper represents an ongoing research related to the specificity of teaching and learning in art and design as investigative and critical processes where historical study and theory are taught in relationship to studio practice. In this context, it reconsiders the place of the visual as central to writing in a practiced-based context. The research demonstrates through rigorous testing that design students develop ideas through visualization models and computer-generated forms of ‘writing’ and communication. It demonstrates that the critical analysis for students studying art and design sits within a visual model of thinking. The research project undertaken proposes a teaching/learning protocol based on visual knowledge and ‘visual writing’ that facilitate interaction at another level than the purely verbal. The ‘framework’, ‘mechanics’, ‘structural devices’ and the ‘narratology’ of visual writing, the use of moving images and filmmaking techniques enable students to open text-based discussions, to establish text and visual selection, scripts, story-boards, film-frame sketches – an equivalent visual vocabulary to that of linguistics. The results indicate that visual compositions enable students to communicate ideas fluently and that the visual becomes interactive media in the teaching and learning of history and theory of art and design,The visual narrative techniques proposed in this research are offered as tools for students who have difficulties processing information in written formats, and difficulties producing written essays. The project continues an ongoing research into visual models of writing as illustrated the article ‘Drawing Lines – Ambiguous Surfaces’, published on-line in the Journal of Contemporary Drawing Research, where drawing is studied in terms of its multiple functions, expressions and languages rather than a simple representational tool.

AB - This paper represents an ongoing research related to the specificity of teaching and learning in art and design as investigative and critical processes where historical study and theory are taught in relationship to studio practice. In this context, it reconsiders the place of the visual as central to writing in a practiced-based context. The research demonstrates through rigorous testing that design students develop ideas through visualization models and computer-generated forms of ‘writing’ and communication. It demonstrates that the critical analysis for students studying art and design sits within a visual model of thinking. The research project undertaken proposes a teaching/learning protocol based on visual knowledge and ‘visual writing’ that facilitate interaction at another level than the purely verbal. The ‘framework’, ‘mechanics’, ‘structural devices’ and the ‘narratology’ of visual writing, the use of moving images and filmmaking techniques enable students to open text-based discussions, to establish text and visual selection, scripts, story-boards, film-frame sketches – an equivalent visual vocabulary to that of linguistics. The results indicate that visual compositions enable students to communicate ideas fluently and that the visual becomes interactive media in the teaching and learning of history and theory of art and design,The visual narrative techniques proposed in this research are offered as tools for students who have difficulties processing information in written formats, and difficulties producing written essays. The project continues an ongoing research into visual models of writing as illustrated the article ‘Drawing Lines – Ambiguous Surfaces’, published on-line in the Journal of Contemporary Drawing Research, where drawing is studied in terms of its multiple functions, expressions and languages rather than a simple representational tool.

KW - visual writing

KW - design histories

KW - visualisation models

KW - visual knowledge

KW - visual vocabulary

KW - teaching protocol

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M3 - Conference contribution

SN - ISBN 978-963-08-1595-6

BT - Unknown Host Publication

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A2 - Karpati, A.

ER -