Visual Communication Design Teaching Strategies Guiding Undergraduate Studio Courses John Bowers 01 Visual Communication Design Teaching Strategies: Guiding Undergraduate Studio Courses John Bowers A Handbook for John Bowers’ Visual Communication Design Teaching Assistants VCD 1001 / VCD 2900 / VCD 3045 Edited for AIGA Design Teaching Resource 2020 01 Visual Communication Design Teaching Strategies Guiding Undergraduate Studio Courses Credits 02 Credits I would like to thank the following people for their assistance with this handbook. Long-time friend and collaborator Karin C. Warren for her help in developing the manuscript and in guiding its completion. My graduate teaching assistants at the School of the Art Institute of Chicago, Visual Communication Design Department, for their input into the book’s content. 02 Visual Communication Design Teaching Strategies Guiding Undergraduate Studio Courses Preface > Background 03 Before Course Preface Background I have taught and served as an This handbook is a blend of practical advice and pedagogical discussion. It is academic consultant at private and public written for you—the teaching assistant (TA)—as we teach together, and when you universities across the United States, in teach alone as a TA-A in these courses: VCD 1001, Introduction to Visual Canada, and in Sweden, for over 30 years. Communication; VCD 2900, Sophomore Seminar: Design Strategies; and VCD 3045, Web Design: Interface and Structure. These schools have different structures, grading formats, enrollments, and When I began teaching with TAs, I created a simple one-page, bulleted list of missions. Yet the one constant throughout things to discuss with them prior to the first day. That list is now expanded into is the students themselves. Regardless this handbook. In it, I discuss how to plan and teach an undergraduate visual of their abilities, life experiences, communication design course that is active and effective. and expectations, they have a tremendous capacity to learn when guided well. The underlying instructional approach is that of teacher as guide, not as director or figurehead who teaches solely through the power of personality, but instead uses their innate strengths together with planning, study, and effort. Example This book targets undergraduate courses that . occur in a classroom (vs. online) . are project based . involve planning and prototyping . require the use of a computer . focus on original yet reproducible forms . use iterative processes . develop specific and broadly applied skill sets . employ project prompts with open-ended outcomes . are co-taught by myself and the TA, then alone by the TA-A and may . use self-generated content . employ multiple rhetorical approaches . apply a range of methodologies . consider targeted and open-ended responses . explore singular and multiple interpretations 03 Visual Communication Design Teaching Strategies Guiding Undergraduate Studio Courses Preface > Facuty and TA Teamwork 04 Before Course Preface Faculty and TA Teamwork Viewing the faculty and TA working The benefits of faculty and TAs working together are many, and include a broader relationship from each side is helpful in or reinforced critique of students’ work, more individualized attention to students, determining how the two can best and the introduction of additional skill sets and interests into the course. work together. Students may look up to you, the TA, as someone to emulate. TAs are deeply engaged in making a body of work and have life experiences that may be inspiring to undergraduates. You may find it difficult to find a rhythm with your faculty member (e.g., when to interject in critiquing) and to gain command of the class. When teaching with faculty, it is best to lead course activities only after you have found your comfort areas and are thoroughly prepared. Without thorough preparation on your part, students may lose faith in your instruction, which can be very difficult to regain. Example Which attributes describe what you are looking for in a working relationship with faculty? Activities O A L . Planning Course Is attentive, thorough, and consistent Evaluating Students . Conveys trust, believability, and inspiration Guiding Projects . Undertakes self-reflection and is open to change Giving Demonstrations Holding Discussions How do you participate in course activities Moderating Critiques (match the below with the table on the right)? Leading Critiques Providing Personalized Guidance Conducting Exercises O Observing Giving Lectures A Aiding Teaching Software / Code L Leading Doing Relevant Research Preparing Course Materials Advising Students Assessing Course Questions Which faculty attributes above are the most What is your definition of academic freedom critical to your participation? and how does that mesh with the teaching of your required course goals and objectives? Why do you want to teach this course? If you added time as an element to the activities list, which would take the most class session time, and which requires the most preparation? 04 Visual Communication Design Teaching Strategies Guiding Undergraduate Studio Courses Preface > Putting the Parts Together 05 During Course Preface Putting the Parts Together There are two ways to teach course Unique content is often divided into parts that are taught separately. For example, content: break it into parts and teach each in an introductory design course, a form project using geometric shapes is part separately, sequentially, and often assigned first and evaluated in purely formal terms. Other course content cumulatively (common in beginning-level such as methodologies or theories may be added incrementally throughout the courses or those with unique content); course and included in a final project. or teach all parts concurrently (common in intermediate and advanced courses The opposite approach is to teach form and all other course parts concurrently and in design programs that assign issue- (such as coding) by continually shifting emphasis among the various parts driven and open-ended physical outcomes). throughout the course. Your choice between the two approaches should take into consideration the department's approach to teaching course content, your own teaching beliefs, and the extent to which you believe students can successfully complete project parts presented separately or simultaneously. Example The argument for teaching form or other course The argument against teaching form or other parts separately (and joining them in a project course parts separately and for teaching them at the end of the course) is concurrently is . the approach educated many influential Baby .. it may be difficult for students to buy into Boomer and Generation X design educators. a formal or highly conceptual project without accompanying and immediate application. it keeps students from becoming overwhelmed or finishing projects too quickly. .. the function of each project part comes from being part of a whole. it narrows down the principles a project addresses, which can lead to a more thorough . it may treat visual form and messages as understanding of project goals and objectives, . void of biases, ideals, and values. and better visual outcomes. it may prioritize a given visual language and . subsequent courses will methodically add to . rhetorical approach over all others. the parts and place them together in new ways. Questions What would you add to the arguments above? Which point best supports your teaching approach and which is the strongest argument Which variables most influence your teaching against it? approach, e.g., course content, course level, corequisites, or others? Which approach is in line with your own creative practice, and how might that connection be leveraged? 05 Visual Communication Design Teaching Strategies Guiding Undergraduate Studio Courses Keep in Mind 06 Before, During, and After Course Keep in Mind Students will leave with a memory of the experience as much as the designs they create. 06 Visual Communication Design Teaching Strategies Guiding Undergraduate Studio Courses Contents 07 Before, During, and After Course Contents 08 Opening 09 Developing a Strategy 10 Choosing Your Design Definitions 11 Selecting Learning Goals 12 Meeting Learning Styles 13 Guiding Experiential Learning 14 Teaching Iterative Processes 15 Leading Problem Seeking and Solving 16 Integrating Theory 17 Teaching to Your Strengths 18 Defining 28 Framing 38 Doing 19 Meeting Students Where They Are 29 Creating Effective Course Materials 39 Describing Quality 20 Seeing the Big Picture 30 Making a Flexible Schedule 40 Setting and Maintaining Expectations 21 Taking the Long View 31 Maximizing Studio Time 41 Motivating and Persuading 22 Laying Out the Landscape 32 Giving Students Choices 42 Stepping In and Out 23 Building on Student Interests 33 Crafting Project Prompts 43 Finding the Connection 24 Making the Experience Active 34 Individualizing Outcomes 44 Fostering Curiosity 25 Developing Criticality and Points of View 35 Providing Access Points 45 Moderating Participatory Critiques 26 Creating a Culture 36 Using Local Examples 46 Moderating Walkabout Critiques 27 Blurring Boundaries 37 Evaluating During and After 47 Moderating Written Critiques 48 Closing 49 Analyzing Your Courses 50 Positioning Your Courses 51 Growing Your Skills 52 Finding Resources 54 Design: Visual Culture and Community 56 Strategizing Design Curriculum 58 Lagom: Finding Balance in Lapland 60 A Lesson from Spirograph 62 Notes 07 Visual Communication