Graphic Design is WAY More Complex Than Just CARP

This week in INTE 6710 "Creative Designs," our class dove into understanding CARP, or contrast, alignment, repetition, and proximity. There are many other deeply embedded meanings in simple graphics that evoke responses in the viewer, even if subconscious or subliminal. There's color, gestalt, symmetry, asymmetry, texture, scale, etc. All these things we pretty much take for granted in the modern era where we are bombarded with imagery, mostly well done thanks to capitalism. Embedded in the psyche of each person living in the modern world is the "taste" or ability to discern what looks good or what looks bad. Just like listening to music, there are rules to be followed and we all know it when we hear a good tune versus a bad one. We may not be able to describe why the music, or the image or design is out tune, but we know a bad design when we see one.

17 Ways To Make Graphic Designers Cringe

In order to describe visual design to make what works and what does not clear, people living in the modern era should develop some sense of vocabulary and knowledge of these graphic design terms. In fact, anyone who chooses to post original visual works, pictures, videos, drawings, logos, etc. is a media producer. And media producers (anyone) in the modern era has more power than ever to let their voice be heard by what is seen, heard, and distributed across vast networks around the world. This inspires me and amazes me everyday, and is a strong focus in my work.

Last year, about this time, I created a Google + page for Designing To Learn, a brand I came up with while in graduate school, to focus on digital and design literacy. I still use this Google + page with my students both online and face to face. There are tons of valuable resources out there to help us understand design and what makes us "tick" and what "sticks." Today I would like to share that resource as well as a few others that may help us better understand some design terms and theories to help us make an info-graphic in INTE 6710.

Check out the Google + page for Designing to Learn

Three sources to begin to understand design terms and theory:

50 Design Terms Explained Simply For Non-Designers

Simplicity, Symmetry and More: Gestalt Theory And The Design Principles It Gave Birth To

Color Theory

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VR ‘Redefining’ How We Design

SAMR: REDEFINITION. Image courtesy of Christina Moore 2017. In recent years virtual reality (VR) technologies have gained popularity for enhancement of a myriad of industries and experiences. It’s hard to dispute VR has the potential to transform. It’s exciting to consider exploring these technologies for the purpose of education, but before putting VR into practice in the classroom, it’s important to apply the study of theory to VR potential. The SAMR model (substitution, augmentation, modification, and redefinition) is a great way to apply rather basic theory to VR tech. Although it’s possible VR practitioners and learners can traverse SAMR, based on how VR is used, “redefinition” may be the most impactful way to demonstrate use of these technologies for learning. Redefinition, in regards to SAMR, refers to the ability for technology to “create tasks and ways of learning that were previously inconceivable.” (Technology Is Learning 2014) From the perspective of a CAD and Int

How Discourse and Creativity Express Meaning

Moving from literacy and ‘new literacies’ to D iscourse. In chapter one of New Literacies: Everyday Practices and Social Learning Ed by Colin Lankshear and Michele Knobel . I learned about literacy as a historical concept and a social practice. I also learned about new literacies as ‘paradigmatic’ and ‘ontological’ (Lankshear & Knobel, 2011, p. 27). In chapter two I began to learn more about literacy as a social practice through Discourses and encoded texts. “Hence, literacies are ‘socially recognized ways in which people generate, communicate, and negotiate meanings, as members of Discourses, through the medium of encoded texts.” (Lankshear & Knobel, 2011, p. 50). As a social practice one can think of literacy as observable ‘things’ humans do with their bodies and minds to create meaning. Lankshear and Knobel cite the work of Scribner and Cole to describe these practices as “consisting of three components: technology, knowledge, and skills. (ibid,: 236)”

The Everyday Remix Practices of Teachers: A Critique of Christopher Emdin: Hip-Hop and the Remix of Science Education

Christopher Emdin: Hip-Hop and the Remix of Science Education UC Denver digital storytelling students wishing to comment on this critique: Although I would love it if everyone had the time to watch the full youtube video, you can get ‘the just’ of this remix practice within 5-10 minutes of watching if you would like to participate in comments. Please don’t shy away because of the length of the video. Critique Format As part of the continued practice in digital storytelling, in INTE 5340 MA ILT at CU Denver, I will consume digital stories and offer critiques. Until now the course has focused on Jason Ohler’s assessment traits as criterions to assess stories. For the remainder of the critiques in the course, I will focus on “everyday remix practices” as described in the Lankshear and Knobel text New Literacies: Everyday Practices and Social Learning Third Ed by Colin Lankshear and Michele Knobel , on pages 127-140. Introduction In efforts to transition and answer so

Desinging To Learn

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