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Design Kit is IDEO.org’s platform to learn human-centered design, a creative approach to solving the world’s most difficult problems.

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The 12 units in the Disruptive Design Methodology synthesize a broad range of thinking and doing skills and tools, including systems thinking, gamification and game theory, ethics and empathy, life cycle thinking, research strategies, applied systems intervention, cognitive and behavioral sciences, ideation and creative problem solving, and sustainable production.

Each of these learning modules fit together to form the practice of Disruptive Design, which is the applied approach to designing creative interventions for positive social change.

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Disruptive Design Method - LEYLA ACAROGLU

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A method of activating positive social and environmental change that embraces complexity, applies systems thinking and advances sustainable solutions to the worlds biggest problems. Think of an amped up design thinking approach mixed with systems change tools and driven by achieving a circular and s

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Critical Alphabet – By Lesley-Ann Noel PhD

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Ableism is discrimination and social prejudice against people with disabilities or who are perceived to have disabilities. Ableism characterizes persons as defined by their disabilities and as inferior to the non-disabled.
Ableism is systematic, the institutional devaluing of bodies and minds deemed deviant, abnormal, defective, subhuman, less than… Ableism is violence.

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SWOT Analysis: Exploring Innovation and Creativity within Organizations

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Innovation and creativity are considered by many strategists a key factor of business success and prosperity. However, only one from six ideas achieve the

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Balance in visual communication refers to the arrangement of components on two sides of a seen or implied vertical axis. There are two ways to balance a composition.

Asymmetrical balance is where the two sides of a composition are balanced, yet are not mirrored. In order to achieve balance off centre different sized components are given more or less visual weight. Visual weight is increased of decreased by changing on or more of; tone, colour, size or proximity to the central axis. Visual communications employing asymmetrical balance create a more dynamic composition and are suited to purposes where audiences are encouraged to interact with the design.

Balance in communication design may also refer to components set either side of the horizontal axis. This will involve the broader study of composition and includes grid layout, random layout, radial balance, spiral balance, triangular composition.

Balance in industrial and environmental design will involve the physical balance of a stucture.

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Design elements and principles for visual communication

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Balance in visual communication refers to the arrangement of components on two sides of a seen or implied vertical axis. There are two ways to balance a composition. Asymmetrical balance is where the two sides of a composition are balanced, yet are not mirrored.

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Thinking like a designer can transform the way organizations develop products, services, processes, and strategy. This approach, which is known as design thinking, brings together what is desirable from a human point of view with what is technologically feasible and economically viable. It also allows people who aren't trained as designers to use creative tools to address a vast range of challenges.

IDEO did not invent design thinking, but we have become known for practicing it and applying it to solving problems small and large. It's fair to say that we were in the right place at the right time. When we looked back over our shoulder, we discovered that there was a revolutionary movement behind us.

About this site

This design thinking site is just one small part of the IDEO network. There's much more, including full online courses we've developed on many topics related to design thinking and its applications. We fundamentally believe in the power of design thinking as a methodology for creating positive impact in the world-and we bring that belief into our client engagements as well as into creating open resources such as this.

At IDEO, we're often asked to share what we know about design thinking. We've developed this website in response to that request. Here, we introduce design thinking, how it came to be, how it is being used, and steps and tools for mastering it. You'll find our particular take on design thinking, as well as the perspectives of others. Everything on this site is free for you to use and share with proper attribution.

(From 2008-2018, designthinking.ideo.com was the home of IDEO's design thinking blog, written by our CEO, Tim Brown. You can find that blog here.)

Design thinking in context

We live and work in a world of interlocking systems, where many of the problems we face are dynamic, multifaceted, and inherently human. Think of some of the big questions being asked by businesses, government, educational and social organizations: How will we navigate the disruptive forces of the day, including technology and globalism? How will we grow and improve in response to rapid change? How can we effectively support individuals while simultaneously changing big systems? For us, design thinking offers an approach for addressing these and other big questions.

There's no single definition for design thinking. It's an idea, a strategy, a method, and a way of seeing the world. It's grown beyond the confines of any individual person, organization or website. And as it matures, its history deepens and its impact evolves. For IDEO, design thinking is a way to solve problems through creativity. Certainly, it isn't a fail-safe approach; nor is it the only approach. But based on the impact we are seeing in our work, the relevance of design thinking has never been greater.

Design thinking today

Design thinking is maturing. It's moving from a nascent practice to an established one, and with that comes interest and critique. People are debating its definition, pedigree, and value. As a leading and committed practitioner of design thinking, IDEO has a stake in this conversation-and a responsibility to contextualize its value in the present moment and, importantly, in the future.

We've learned a lot over the years, and we'd like to share our insights. We've seen design thinking transform lives and organizations, and on occasion we've seen it fall short when approached superficially, or without a solid foundation of study. Design thinking takes practice; and as a community of designers, entrepreneurs, engineers, teachers, researchers, and more, we've followed the journey to mastery, and developed maps that can guide others.

Designer's mindset

At IDEO, we are a community of designers who naturally share a mindset due to our profession. Our teams include people who've trained in applied fields such as industrial design, environmental architecture, graphic design, and engineering; as well as people from law, psychology, anthropology, and many other areas. Together, we have rallied around design thinking as a way of explaining design's applications and utility so that others can practice it, too. Design thinking uses creative activities to foster collaboration and solve problems in human-centered ways. We adopt a "beginner's mind," with the intent to remain open and curious, to assume nothing, and to see ambiguity as an opportunity.

To think like a designer requires dreaming up wild ideas, taking time to tinker and test, and being willing to fail early and often. The designer's mindset embraces empathy, optimism, iteration, creativity, and ambiguity. And most critically, design thinking keeps people at the center of every process. A human-centered designer knows that as long as you stay focused on the people you're designing for-and listen to them directly-you can arrive at optimal solutions that meet their needs.

Anyone can approach the world like a designer. But to unlock greater potential and to learn how to work as a dynamic problem solver, creative confidence is key. For IDEO founder David Kelley, creative confidence is the belief that everyone is creative, and that creativity isn't the ability to draw or compose or sculpt, but a way of understanding the world.

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IDEO introduces design thinking, how it came to be, how it is being used, and steps and tools for mastering it.

# data[].attributes.attachment_link.readable_text
Thinking like a designer can transform the way organizations develop products, services, processes, and strategy. This approach, which is known as design thinking, brings together what is desirable from a human point of view with what is technologically feasible and economically viable. It also allows people who aren't trained as designers to use creative tools to address a vast range of challenges.

IDEO did not invent design thinking, but we have become known for practicing it and applying it to solving problems small and large. It's fair to say that we were in the right place at the right time. When we looked back over our shoulder, we discovered that there was a revolutionary movement behind us.

About this site

This design thinking site is just one small part of the IDEO network. There's much more, including full online courses we've developed on many topics related to design thinking and its applications. We fundamentally believe in the power of design thinking as a methodology for creating positive impact in the world-and we bring that belief into our client engagements as well as into creating open resources such as this.

At IDEO, we're often asked to share what we know about design thinking. We've developed this website in response to that request. Here, we introduce design thinking, how it came to be, how it is being used, and steps and tools for mastering it. You'll find our particular take on design thinking, as well as the perspectives of others. Everything on this site is free for you to use and share with proper attribution.

(From 2008-2018, designthinking.ideo.com was the home of IDEO's design thinking blog, written by our CEO, Tim Brown. You can find that blog here.)

Design thinking in context

We live and work in a world of interlocking systems, where many of the problems we face are dynamic, multifaceted, and inherently human. Think of some of the big questions being asked by businesses, government, educational and social organizations: How will we navigate the disruptive forces of the day, including technology and globalism? How will we grow and improve in response to rapid change? How can we effectively support individuals while simultaneously changing big systems? For us, design thinking offers an approach for addressing these and other big questions.

There's no single definition for design thinking. It's an idea, a strategy, a method, and a way of seeing the world. It's grown beyond the confines of any individual person, organization or website. And as it matures, its history deepens and its impact evolves. For IDEO, design thinking is a way to solve problems through creativity. Certainly, it isn't a fail-safe approach; nor is it the only approach. But based on the impact we are seeing in our work, the relevance of design thinking has never been greater.

Design thinking today

Design thinking is maturing. It's moving from a nascent practice to an established one, and with that comes interest and critique. People are debating its definition, pedigree, and value. As a leading and committed practitioner of design thinking, IDEO has a stake in this conversation-and a responsibility to contextualize its value in the present moment and, importantly, in the future.

We've learned a lot over the years, and we'd like to share our insights. We've seen design thinking transform lives and organizations, and on occasion we've seen it fall short when approached superficially, or without a solid foundation of study. Design thinking takes practice; and as a community of designers, entrepreneurs, engineers, teachers, researchers, and more, we've followed the journey to mastery, and developed maps that can guide others.

Designer's mindset

At IDEO, we are a community of designers who naturally share a mindset due to our profession. Our teams include people who've trained in applied fields such as industrial design, environmental architecture, graphic design, and engineering; as well as people from law, psychology, anthropology, and many other areas. Together, we have rallied around design thinking as a way of explaining design's applications and utility so that others can practice it, too. Design thinking uses creative activities to foster collaboration and solve problems in human-centered ways. We adopt a "beginner's mind," with the intent to remain open and curious, to assume nothing, and to see ambiguity as an opportunity.

To think like a designer requires dreaming up wild ideas, taking time to tinker and test, and being willing to fail early and often. The designer's mindset embraces empathy, optimism, iteration, creativity, and ambiguity. And most critically, design thinking keeps people at the center of every process. A human-centered designer knows that as long as you stay focused on the people you're designing for-and listen to them directly-you can arrive at optimal solutions that meet their needs.

Anyone can approach the world like a designer. But to unlock greater potential and to learn how to work as a dynamic problem solver, creative confidence is key. For IDEO founder David Kelley, creative confidence is the belief that everyone is creative, and that creativity isn't the ability to draw or compose or sculpt, but a way of understanding the world.

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IDEO introduces design thinking, how it came to be, how it is being used, and steps and tools for mastering it.

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Design thinking is a methodology which provides a solution-based approach to solving problems. It's extremely useful when used to tackle complex problems that are ill-defined or unknown-because it serves to understand the human needs involved, reframe the problem in human-centric ways, create numerous ideas in brainstorming sessions and adopt a hands-on approach to prototyping and testing. Learning about the five stages of design thinking will empower you and allow you to apply the methodology to your work and solve complex problems that occur in our companies, our countries, and across the world.
Design thinking is a non-linear, iterative process that can have anywhere from three to seven phases, depending on whom you talk to. We focus on the five-stage design thinking model proposed by the Hasso Plattner Institute of Design at Stanford (the d.school) because they are world-renowned for the way they teach and apply design thinking.

What are the 5 Stages of the Design Thinking Process

The five stages of design thinking, according to the d.school, are:

Let's dive into each stage of the design thinking process.

Stage 1: Empathize-Research Your Users' Needs

Empathize: the first phase of design thinking, where you gain real insight into users and their needs.

The first stage of the design thinking process focuses on user-centric research. You want to gain an empathic understanding of the problem you are trying to solve. Consult experts to find out more about the area of concern and conduct observations to engage and empathize with your users. You may also want to immerse yourself in your users' physical environment to gain a deeper, personal understanding of the issues involved-as well as their experiences and motivations. Empathy is crucial to problem solving and a human-centered design process as it allows design thinkers to set aside their own assumptions about the world and gain real insight into users and their needs.

Depending on time constraints, you will gather a substantial amount of information to use during the next stage. The main aim of the Empathize stage is to develop the best possible understanding of your users, their needs and the problems that underlie the development of the product or service you want to create.

Stage 2: Define-State Your Users' Needs and Problems

Define: the second phase of design thinking, where you define the problem statement in a human-centered manner.

In the Define stage, you will organize the information you have gathered during the Empathize stage. You'll analyze your observations to define the core problems you and your team have identified up to this point. Defining the problem and problem statement must be done in a human-centered manner.

For example, you should not define the problem as your own wish or need of the company: "We need to increase our food-product market share among young teenage girls by 5%."

You should pitch the problem statement from your perception of the users' needs: "Teenage girls need to eat nutritious food in order to thrive, be healthy and grow."

The Define stage will help the design team collect great ideas to establish features, functions and other elements to solve the problem at hand-or, at the very least, allow real users to resolve issues themselves with minimal difficulty. In this stage, you will start to progress to the third stage, the ideation phase, where you ask questions to help you look for solutions: " How might we encourage teenage girls to perform an action that benefits them and also involves your company's food-related product or service?" for instance.

Stage 3: Ideate-Challenge Assumptions and Create Ideas

Ideate: the third phase of design thinking, where you identify innovative solutions to the problem statement you've created.

During the third stage of the design thinking process, designers are ready to generate ideas. You've grown to understand your users and their needs in the Empathize stage, and you've analyzed your observations in the Define stage to create a user centric problem statement. With this solid background, you and your team members can start to look at the problem from different perspectives and ideate innovative solutions to your problem statement.

There are hundreds of ideation techniques you can use-such as Brainstorm, Brainwrite, Worst Possible Idea and SCAMPER. Brainstorm and Worst Possible Idea techniques are typically used at the start of the ideation stage to stimulate free thinking and expand the problem space. This allows you to generate as many ideas as possible at the start of ideation. You should pick other ideation techniques towards the end of this stage to help you investigate and test your ideas, and choose the best ones to move forward with-either because they seem to solve the problem or provide the elements required to circumvent it.

Stage 4: Prototype-Start to Create Solutions

Prototype: the fourth phase of design thinking, where you identify the best possible solution.

The design team will now produce a number of inexpensive, scaled down versions of the product (or specific features found within the product) to investigate the key solutions generated in the ideation phase. These prototypes can be shared and tested within the team itself, in other departments or on a small group of people outside the design team.

This is an experimental phase, and the aim is to identify the best possible solution for each of the problems identified during the first three stages. The solutions are implemented within the prototypes and, one by one, they are investigated and then accepted, improved or rejected based on the users' experiences.

By the end of the Prototype stage, the design team will have a better idea of the product's limitations and the problems it faces. They'll also have a clearer view of how real users would behave, think and feel when they interact with the end product.

Stage 5: Test-Try Your Solutions Out

Test: the fifth and final phase of the design thinking process, where you test solutions to derive a deep understanding of the product and its users.

Designers or evaluators rigorously test the complete product using the best solutions identified in the Prototype stage. This is the final stage of the five-stage model; however, in an iterative process such as design thinking, the results generated are often used to redefine one or more further problems. This increased level of understanding may help you investigate the conditions of use and how people think, behave and feel towards the product, and even lead you to loop back to a previous stage in the design thinking process. You can then proceed with further iterations and make alterations and refinements to rule out alternative solutions. The ultimate goal is to get as deep an understanding of the product and its users as possible.

Did You Know Design Thinking is a Non-Linear Process?

We've outlined a direct and linear design thinking process here, in which one stage seemingly leads to the next with a logical conclusion at user testing. However, in practice, the process is carried out in a more flexible and non-linear fashion. For example, different groups within the design team may conduct more than one stage concurrently, or designers may collect information and prototype throughout each stage of the project to bring their ideas to life and visualize the problem solutions as they go. What's more, results from the Test stage may reveal new insights about users which lead to another brainstorming session (Ideate) or the development of new prototypes (Prototype).

It is important to note the five stages of design thinking are not always sequential. They do not have to follow a specific order, and they can often occur in parallel or be repeated iteratively. The stages should be understood as different modes which contribute to the entire design project, rather than sequential steps.

The design thinking process should not be seen as a concrete and inflexible approach to design; the component stages identified should serve as a guide to the activities you carry out. The stages might be switched, conducted concurrently or repeated several times to gain the most informative insights about your users, expand the solution space and hone in on innovative solutions.

This is one of the main benefits of the five-stage model. Knowledge acquired in the latter stages of the process can inform repeats of earlier stages. Information is continually used to inform the understanding of the problem and solution spaces, and to redefine the problem itself. This creates a perpetual loop, in which the designers continue to gain new insights, develop new ways to view the product (or service) and its possible uses and develop a far more profound understanding of their real users and the problems they face.

The Take Away

Design thinking is an iterative, non-linear process which focuses on a collaboration between designers and users. It brings innovative solutions to life based on how real users think, feel and behave.

This human-centered design process consists of five core stages Empathize, Define, Ideate, Prototype and Test.

It's important to note that these stages are a guide. The iterative, non-linear nature of design thinking means you and your design team can carry these stages out simultaneously, repeat them and even circle back to previous stages at any point in the design thinking process.

References & Where to Learn More

Herbert Simon, The Sciences of the Artificial (3rd Edition), 1996.

d.school, An Introduction to Design Thinking PROCESS GUIDE, 2010.

Gerd Waloszek, Introduction to Design Thinking, 2012.

Images

Hero Image: © Daniel Skrok and the Interaction Design Foundation, CC BY-NC-SA 3.0.

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The 5 Stages in the Design Thinking Process

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The Design Thinking process is a human-centered, iterative methodology that designers use to solve problems. It has 5 steps-Empathize, Define, Ideate, Prototype and Test.

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The SCAMPER method helps you generate ideas for new products and services by encouraging you to ask seven different types of questions, which will help you understand how you can innovate and improve existing products, services, problems and ideas. Here, you'll learn how to use the method. SCAMPER is surprisingly easy to start using and very efficient in innovation and ideations sessions.
SCAMPER Method

SCAMPER refers to a series of thought sparkers or provocations which help you to innovate on an existing product, service or situation by looking through different lenses. There are seven provocation lenses in the SCAMPER method:

How to Use SCAMPER

First, take an existing product or service. It could be an existing product, service or idea which you want to improve or which could be a great starting point for future development.

Then, simply go down the list and ask questions regarding each of the seven elements. Please see our step-by-step guide below.

Apply the questions to values, benefits, services, touch points, product attributes, pricing, markets and essentially any other related aspect you might be able to think of that has relevance to your ideation needs.

Look at the answers that you came up with. Do any of the answers stand out as viable solutions? Could you use any of them to create a new product, or develop an existing one?

Take the good ideas and explore them further.

Example - McDonald's
Author/Copyright holder: rob_rob2001 . Copyright terms and licence: CC BY-SA 2.0 McDonald's would come to be a larger-than-life household name; it may seem hard to see in the 21st century, but the philosophy behind its 'formula' revolutionised the old style of restaurant experience.
Take, for example, McDonald's founder, Ray Kroc. As he's already done all the hard work, it's now easy for us to identify some of the ideas he used in the SCAMPER method:

Put to other uses: Selling restaurants and real estate instead of just simply hamburgers.

Eliminate: Letting customers serve themselves and thereby avoiding the use of expensive waiters.

Rearrange: Having customers pay before they eat.

Step-by-step Guide

Substitute
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
Overall, the question to think about here is this: What can I substitute or change in my product, problem or process? You should think about substituting part(s) of your product or process for something else.

Guiding questions:

Use these instead of starting with: 'I can ...'

Combine
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
The overall question to think about here is: How can I combine two or more parts of my product, problem, or process so as to achieve a different product, problem, or process to enhance synergy? Creative thinking involves combining previously unrelated ideas, products, or services in order to create something new and innovative.

Guiding questions:

Adapt
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
Overall, the question you need to think about is: What can I adapt in my product, problem, or process? Think about which parts of the product or process you could adapt so as to solve your problem.

Guiding questions:

Modify (Also Magnify and Minify)
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
Overall, the question you need to focus on is this: What can I modify or put more or less emphasis on in my product, problem, or process? Can I change the item in some way? Can I change meaning, colour, motion, sound, smell, form, or shape? It's time to magnify or exaggerate your idea, product, problem, or process-or to minify it. These questions will give you new insights about which components are the most important ones. Think about changing part or all of the current situation or product. Alternatively, distort the product in an unusual way.

Guiding questions:

Put to Another Use
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
The overall question to consider here is this: How can I put the thing to other uses? What are new ways to use the product or service? Can I reach out to other users if I modify the product? Is there another market for the product? It's time to work out how you may be able to put your current product or idea to other uses and purposes.

Guiding questions:

Eliminate
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
Your overall question to consider here is: What can I eliminate or simplify in my product, design, or service? Think of what might happen if you were to eliminate, simplify, reduce, or minimise parts of your idea. If you continue to trim your idea, service, or process-you can gradually narrow your challenge down to that part or function that is most important.

Guiding questions:

Rearrange
Author/Copyright holder: Teo Yu Siang and Interaction Design Foundation. Copyright terms and licence: CC BY-NC-SA 3.0
Overall, you have to ask yourself this question: How can I change, reorder, or reverse the product or problem? What would I do if I had to do this process in reverse?

Guiding questions:

What can I rearrange in some way - can I interchange components, the pattern, or the layout?

Can I change the pace or schedule?

What would I do if part of your problem, product or process worked in reverse?

I can rearrange what in what way such that this happens?

Historical Background

Alex Osborn, the originator of the brainstorming method, originally came up with many of the questions used in the SCAMPER technique. However, it was Bob Eberle, an education administrator and author, who organised these questions into the SCAMPER mnemonic.

The Take Away

The SCAMPER method helps you generate ideas for new products and services by encouraging you to ask seven different types of questions, which will help you understand how you can innovate and improve existing products, services, problems and ideas. SCAMPER is an acronym formed from the abbreviation of: Substitute, Combine, Adapt, Modify (Also magnify and minify), Put to another use , Eliminate, and Reverse. SCAMPER is a lateral thinking technique which challenges the status quo and helps you explore new possibilities.
You can download and print the template where we've described the best practice for the SCAMPER method:
References & Where to Learn More

Hero Image: Author/Copyright holder: Damgood AVLien. Copyright terms and licence: CC BY-SA 2.0

SCAMPER - Improving Products and Services.

Luciano Passuello, Creative Problem Solving with SCAMPER
SCAMPER at CreatingMinds.org

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Scamper: How to Use the Best Ideation Methods

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The SCAMPER method helps you generate ideas for new products and services by encouraging you to ask seven different types of questions, which will help you understand how you can innovate and improve

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Last Updated on February 2, 2022

This article contains a collection of sketchbook pages from art students around the world, including those who study IGCSE / GCSE Art, A Level Art, VCE Studio Arts, NCEA Level 3 Scholarship, and IB Visual Art. Many of the sketchbook pages shown below are from projects that achieved full marks. These examples illustrate the wide range of possible approaches to sketchbook content, annotation, and page layout.

You may be interested in our new book: Outstanding High School Sketchbooks. This book has high-resolution images so that fine details and annotation are clear, making it an excellent resource for students and schools. Learn more!

Examples of great art sketchbooks

This sketchbook page collection features work from students who specialize predominantly in drawing, painting, mixed media, and Fine Art. The examples cover a wide range of presentation techniques and layout styles. It is worth remembering that these represent only a fraction of what is possible.

These International GCSE Art sketchbook pages were created by Nikau Hindin, while at ACG Parnell College, Auckland, New Zealand. This page includes first-hand observational drawings of a still life arrangement and a handmade flax (harakeke) flower, made by Nikau. You may wish to view Nikau's full A* IGCSE Coursework project (98%) or her AS Coursework project (awarded 100%). Larger file sizes of Nikau's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This A* sketchbook was completed by Emilya Swan, while studying A Level Fine Art at Godalming College, Surrey, England. The left-hand page includes a copy of work by Leonard Baskin; the right-hand page contains experimentation with a wide range of media, including pencil on tracing paper and old book pages, Quink ink and bleach, spirit markers, ink and pen, fineliner and oil pastel. Emilya's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

These sketchbook pages were produced by Kate Powell, while studying at North Halifax Grammar School, West Yorkshire, England. Kate gained A* in OCR GCSE Art as a Year 9 student (two years younger than is expected) and A* for A Level Art in Year 12 (one year younger than expected). She achieved full marks (100%) for A Level Photography, in Year 13. You may wish to read about how Kate launched her career while at high school.

This sketchbook page was completed by Annie Loh, while studying Edexcel GCSE Art and Design at Sha Tin College, Hong Kong. This page references the work of artist Stephen Conroy. Annie gained 100% (A*) for this qualification.

These sketchbook pages exploring the human figure were completed by Chloé Zinn, while studying National Senior Certificate at Rustenburg High School for Girls, South Africa. The right-hand image is a mixed replica of an illustration by Kaethe Butcher, completed using masking tape, gouache paint, tracing paper, fine liner, and crumpled magazine paper. A larger file size of the left-hand sketchbook page can be viewed in our publication: Outstanding High School Sketchbooks.

This A Level Art sketchbook page contains drawings of visual analysis of a sculpture by Bernard Meadows. This project was completed by William Govoni, Bedford School, England. More of William's artwork can be viewed in our guide to preparing an art portfolio for college or university.

These graphite paper drawings were part of a sketchbook exercise completed by Jenny Ha, while studying AS Level Graphic Design (A*) at ACG Parnell College, Auckland, New Zealand.

These two International GCSE Art sketchbook pages by Rhea Maheshwari, ACG Parnell College, Auckland, New Zealand, analyzing the work of Jim Dine. Rhea achieved an A* grade. More of Rhea's sketchbook pages (larger file sizes) can be viewed in our publication: Outstanding High School Sketchbooks.

This A Level Art sketchbook page is by Daisy Wrigley, completed while studying AQA A Level Art & Design (Fine Art) at St. Mary's Catholic High School. Investigating the work of Crystal Neubauer, this sketchbook page explores a wide range of media, including ribbon, maps, book pages, parcel tape, corrugated cardboard, tissue paper, fabric, paper towel, charcoal, stitching, and acrylic. Daisy gained 98% (A*) for her final A Level Art grade. More of Daisy's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This is part of a Process Portfolio by Enrico Giori, completed as a part of IB Visual Arts at St. Louis School of Milan. Enrico was awarded Level 7, obtaining full marks in all three components of the course. You may wish to view more of his IB Visual Art project or his CIE IGCSE Art exam or IGCSE Coursework project (A* Grade). Some of Enrico's sketchbook pages can also be viewed in our publication: Outstanding High School Sketchbooks.

This Edexcel AS Level Textile Design sketchbook page is by Halima Akhtar, completed while studying within the Woldingham School Art Department, UK. Halima achieved 95% for her AS Exam and 100% for her AS Coursework (A*). She also gained 100% for A Level Fine Art. This sketchbook page references the work of Naum Gabo and contains drawings in pencil and fineliner pen, photographs of a paper sculpture and a polyprint carving. You may wish to view more from Halima's outstanding AS/A2 textiles projects. Some of Halima's sketchbook pages can also be viewed in our publication: Outstanding High School Sketchbooks.

These A* A Level Art sketchbook pages were created by Nettle Grellier, St. Edward's School, Oxford, England. Nettle currently runs workshops for art students while travelling around Europe in her studio on wheels.

An A Level Art sketchbook page by Ruth Beeley, St George's School, Hertfordshire, England. Using 'modrock' (a plaster of paris bandage) and glue to create raised areas, with other mixed mediums such as wire, ink and Biro pen, Ruth adds detailed drawings over a chaotic ground. You may wish to view more of Ruth's 100% A Level Art Coursework project.

Sketchbook pages completed as part of a VCE Studio Arts folio by Australian high school student Heesu Kim. Heesu writes about the project: "I want to create a narrative-like line of work that illustrates the process of birth and innocence to slow corruption and finally death of soul. For me, the 'death of soul' is when our minds are shaped to fit the norms of society and cut to think only in the values that it presents. This process both starts and finishes at high school. Ultimately the conclusion is thousands of machine-like individuals, fresh and ready to become slaves to the system. I talk to my friends and see peers that conclude their whole lives and future based on how high their ATAR score is, who adopt dreams that their parents decide for them, dreams that make more money, instead of following their real passion. I'm aware of it but accept it myself as there is no other choice but to. So subtle and complete is the control over us that we embrace it, actively acknowledge to it, and at the same time still suffer emotionally under it."

This Francis Bacon study was completed by Stefan Iyapah, while studying A Level Art at Beal High School, Redbridge, England. In his own words, Stefan "broke out of a timid and controlled way of working and became heavily influenced by the emotion-filled paintings of Francis Bacon which encouraged me to use color experimentally and loosely".

A sketchbook page by Louis Trew from Bideford College, Devon, England.Louis achieved the best equal result in 2011 for his A Level Art submission (AQA). In this sketchbook page (exploring the work of graphic illustrator Russ Mills) every splash of paint, every pen line and every torn piece of background material is placed with care. Even in a page that contains multiple elements, the composition of the page as a whole is important. Louis demonstrates superb technical skill, with the ability to place, balance and integrate items in a harmonious layout.

This eye-catching sketchbook page by Iona Judd includes dripped white spirit (mineral turpentine) through oil paint. Triangles are cut out, with black stitching used to define the human form.

This sketchbook page was completed by Year 12 student Stenelee Taminaya, while studying at St Francis Xavier College, Australia, taught by Damien Veal. Beautiful pencil and biro drawings of hearts and lungs are inspired by images of preserved food in jars.

These expressive sketchbook pages are by Lina Abu Sita, completed while studying AS Art and Design at the British international school Doha College, Qatar. The gestural, painterly experiments combine a range of mixed media, including collage, acrylic paint, oil pastel, and trial various compositional approaches.

These two A* sketchbook pages were completed by Rhea Maheshwari, as part of her IGCSE Art Coursework project at ACG Parnell College, Auckland, New Zealand. This section of work was derived from observational drawings of a still life arrangement of shells in flax (harakeke) bags. The sketchbook page on the left features composition studies created from digital manipulations of her own scanned drawings. More of Rhea's sketchbook pages (larger file sizes) can be viewed in our publication: Outstanding High School Sketchbooks.

These rich, textural mixed media pages are part of an A Level Art project by Ellie Green, while studying at Graveney School, London, England (awarded A*). The work shows clear first-hand sources and a personal response to local environment: shells, feathers, rope, and coastal landscapes. The pages include drawings and collage using a range of mixed media, with the repetition of blue and brown colors visually linking different parts of the page together.

These sketchbook pages are by Hojeong Bonnie Park, completed while studying Edexcel A Level Art and Design at Colombo International School, Sri Lanka. Bonnie explored the exam topic, 'Inside, Outside, In Between,' using a still-life theme, analyzing the artwork of Juan Sánchez Cotán. Bonnie gained 100% (A*) for her final grade. More of Bonnie's beautiful sketchbook pages can be viewed in in our publication: Outstanding High School Sketchbooks.

This GCSE Art and Design sketchbook page is part of an exam unit by Alisha Khanna from Highclare School, UK. This sketchbook page analyzes the work of Andy Warhol, and includes a range of media including colored pencil, crayon, and corrugated cardboard. Alisha gained 94% for her GCSE Art exam. More of Alisha's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page was completed by Heather Louise Thomas, while studying Edexcel GCE Art, Craft and Design at St Edmund Campion Catholic School, UK. This page analyzes the artwork of Terry Flannery and contains highly detailed colored pencil replications of Flannery's work. Heather achieved A* overall. Some of Heather's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This is an AS Level Fine Art sketchbook by David Wasserman, from Monks' Dyke Tennyson College, England. Referencing the work of M.C. Escher, this page explores reflections upon curved surfaces, such as a glistening eyeball, and a shiny Christmas bauble. Photographs of work in progress have been included, documenting drawings at different stages of completion.

This A Level Art sketchbook page contains pen drawings from life at a string ensemble practice in a music hall, exploring ways of capturing the movement of the violin. This project was completed by William Govoni, while studying at Bedford School, England.

This NCEA Level 3 Scholarship Printmaking workbook exemplar by a high school student in New Zealand. It provides a great example how second-hand imagery can be seamlessly integrated with your own photographs, written documentation and analysis. This student looks at architectural abstraction and references the work of Gordon Matta-Clark and Young Ae Kim. More information about this project can be viewed at NZQA.

These sketchbook pages were completed by Manisha Mistry, as part of her A* IGCSE Art Coursework project, ACG Strathallan, Auckland, New Zealand. You may wish to view more of Manisha's 98% IGCSE Art project, which explored natural forms, such as shells, seaweed and fish.

These sketchbook pages are by Elliswg, a high school student studying at a Sixth Form college in Derby, UK. Exploring portraiture, the sketchbook pages contain a thorough and competent investigation of emotion and facial expression, sketched using a range of drawing mediums.

This A Level Art sketchbook page was completed by John Hui, while attending St John's College, Portsmouth, England. The page includes detailed investigation of eyeballs, mouth infections and diseases, working from a combination of first and second-hand images.

These sketchbook pages are by Sabrina Syed, completed as part of her IB Visual Arts Diploma, at the International School of Geneva, ISG La Châtaigneraie, Switzerland. These pages analyze the work of Leonardo da Vinci and Auguste Rodin and contain a variety of media, including collage, ink pen, felt pen, graphite pencil, water-soluble colored pencil, and tracing paper. Sabrina was awarded the highest grade (level 7) for IB Visual Arts. Some of Sabrina's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

An A Level Art sketchbook page by Lucy Luu. At its essence, a sketchbook page should provide insight into a student's ideas and intentions, as well as revealing the influence of other artists. This A Level Art sketchbook page is beautiful in its simplicity: devoid of all superfluous decoration, it shows a dedicated and committed student learning a technique from artist Jonathan Yeo and then carefully applying this to original artwork.

This A* sketchbook page was completed by Hania Cho, while studying A Level Painting at ACG Strathallan College, Auckland, New Zealand. This page examines the work of Claude Monet. You may also wish to view Hania's A* IGCSE Coursework project.

These sketchbook pages are part of an IB Visual Arts project by Wing Yung Ng, completed while studying at Sha Tin College, Hong Kong. Wing Yung Ng gained the highest grade (level 7) for this project. Wing Yung Ng is one of many students from Sha Tin College with work in our publication: Outstanding High School Sketchbooks.

These sketchbook pages were created by two different students. The image on the left was created as part of a Higher Level Investigation Workbook (IWB) by Naomi Ng, completed as part of the IB Visual Arts Diploma Programme at Sha Tin College, Hong Kong. You may wish to view more of Naomi's IB Visual Arts project, which was awarded Level 7. This right-hand AS Art sketchbook page by Charlotte Taylor shows the visual investigation of hands: drawing from a range of angles and in a range of different mediums. Charlotte has worked over scraps of lined note paper (some with maths equations left on them) with meticulous, detailed pen drawings, developing familiarity with the human form.

This A Level Art sketchbook page by Robyn Yeang from Queen's College London, UK, commands the attention of the examiner, without superfluous decoration, enlarged headings or busy page layouts.

This is part of a 98% A* IGCSE Art and Design Coursework project by Sarah Loh, completed while studying at ACG Strathallan College, Auckland, New Zealand. In this sketchbook page, Sarah has produced observational drawings of shells, line drawings and printmaking experiments. You may wish to view Sarah's AS Coursework project.

These sketchbook pages by Allison Ho were completed as part of IB Visual Arts at Sha Tin College, Hong Kong. These pages include composition development and critical analysis of work by Ian Murphy. Allison achieved the highest grade for IB Visual Arts (level 7). Larger file sizes of some of Allison's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page was completed by Heather Louise Thomas, while studying Edexcel GCE Art, Craft and Design at St Edmund Campion Catholic School, UK. Inspired by the work of Jessica Drenk, Heather created porcelain shells, decorating these with tissue paper and power towel soaked in porcelain slip. She then added patches of color to the textural surfaces, contrasting with the areas of satin and gloss glazes. Heather achieved A* overall. Some of Heather's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page is by Rebecca Fawdry, completed while studying Edexcel GCSE Art and Design at West Island School, Hong Kong. (You may wish to follow WIS Art Department on Pinterest). This sketchbook page includes critical analysis of work by artists Ian Murphy and Emily J. Hay. A range includes a range of media has been used, such as graphite pencil, ink pen, marker pen, tissue paper, tracing paper, and newspaper. Rebecca was awarded 100% (A*) for GCSE Art, and is one of many students featured in our publication: Outstanding High School Sketchbooks.

These Edexcel A Level Art sketchbook pages are from a Grade A* student project from Steyning Grammar School, UK. These sketchbook pages are two of many excellent examples shared by the school on the SGS Art Department Pinterest profile.

This Edexcel GCSE Art and Design (Fine Art) sketchbook page is by Sophie Blow, completed while studying at the Frances Bardsley Academy for Girls, UK. This page shows analysis of a portrait, with original interpretation, using graphite pencil, colored pencil, and acrylic paint. Sophie gained 93.5% (A*) for GCSE Art.

This AQA GCSE Art and Design sketchbook page is by Genevieve McGechie, taught by Kate Ash at Christopher Whitehead Language College and Sixth Form, UK. This page explores the work of Timothy Hyunsoo Lee, and includes a range media such as watercolor, acrylic paint, colored pencil, and graphite pencil. Genevieve gained an A* for GCSE Art.

These sketchbook pages by Allison Ho were completed as part of IB Visual Arts at Sha Tin College, Hong Kong. These pages include critical analysis of work by a range of artists, including Michael Shapcott and Zhong Biao. Allison achieved the highest grade for IB Visual Arts (level 7). Larger file sizes of some of Allison's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

These sketchbook pages are from an OCR GCSE Art and Design project by Annie Richardson, Hall Park Academy, UK. These pages show composition experiments in the style of Matthieu Bourel, developing and refining ideas towards the final piece. Annie gained A* (100%) for GCSE Art.

Need more art sketchbook ideas?

This article is part of a series showcasing and celebrating outstanding sketchbooks by students, artists and designers. You may also be interested in viewing our other sketchbook resources:

This sketchbook collection is continually updated. Please bookmark this page so that you can return to it when needed! If you would like to submit your own sketchbook page for inclusion, please contact us. 🙂

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Art Sketchbook Ideas: Creative Examples to Inspire Students

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Looking for art sketchbook ideas? This article showcases excellent high school sketchbooks - inspiration for the student and teacher.

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5 Exercises To Help You Learn To Draw Perspective

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Jorge Paricio is an adjunct professor of Industrial Design at the Rhode Island School of Design (RISD), and author of Perspective Sketching, Freehand and Digital Drawing Techniques for Artists & Designers by Rockport Publishers.

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CLICK HERE FOR INDEX PAGE
THE TIME CHART
V. Ryan © 2001-2010

PDF FILE - CLICK HERE FOR PRINTABLE PLANNING SHEET

A Time Chart is a way of planning your project. Below is a simple grid and the stages of the design process are listed down the left hand side. As part of your project you need to show how much time you intend to spend on each section of the project. Included is a key which shows the amount of time that each unit represents. When you devise your time chart you may wish to include all the sections involved in research or add sections that apply to your individual project.

ANOTHER EXAMPLE TIME CHART

FURTHER INFORMATION

The time chart shown above is a basic layout. When attempting a graphics project you will need to draw it in a more imaginative way.
1. The example shows the stages/pages of design listed on the left hand side. You may decide to set the stages out in a different way. However, you still need to list all pages/stages.
2. On your time chart you must clearly show how much time has been allocated to each stage.
3. Consider including a key which states the time each stage on the chart represents. On the example the key is at the top (1 UNIT = ONE HOUR)
4. Consider including additional pages/stages that only apply to your project. This may apply especially to the research section of your project.
5. Keep the pages/stages to between 25 - 30 in number.
6. You may want to leave blank areas for pages/stages that you may include later. For example, You may be considering making a small model near the end of the project. One page could be set aside for photographs of its construction.
7. It is possible to produce two time charts. The first will represent the designing and the second the manufacturing and all the stages of making. If this is the case, the designing time chart can be drawn early in the project and the manufacturing time chart near the end.
8. The time chart must be easy to follow. Keep the layout simple but add colour and shade to enhance it.
9. If you have been told that there are a limited number of hours for your project - the total hours represented on your time chart should add up to this.

SUGGESTIONS

A. On paper list all the pages / stages you intend to include in your design folder.
B. List all the stages of manufacturing, if you know them at this stage. You may wish to have one stage representing all the aspects of making (as seen on the example above).
C. Look at examples of time charts as these may give ideas regarding the layout of your chart
D. Complete your homework on time. Do not fall behind as you may find it impossible to catch up.

CLICK HERE FOR FURTHER EXAMPLES OF TIME CHARTS

CLICK HERE FOR TIME CHART EXERCISE

CLICK HERE FOR TIME CHART EXERCISE

Plan a time chart for a project of your choice. Remember to allow time for each section of the project.

CLICK HERE FOR DESIGN PROCESS INDEX PAGE

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CLICK HERE FOR INDEX PAGE THE TIME CHART V. Ryan © 2001-2010 PDF FILE - CLICK HERE FOR PRINTABLE PLANNING SHEET A Time Chart is a way of planning your project. Below is a simple grid and the stages of the design process are listed down the left hand side.

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Visy Product Catalogue Find the right packaging solution Our Product Catalogue is designed to make it easy to find the right packaging solution to meet your needs for a wide range of industries including beverage, dairy, fruit & produce, meat, non food and packaged food. Visit Product Catalogue Now ×

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Although sustainability can be taught through any stage of the design process, it should be taught through all stages of the design process.

To fully understand and acknowledge the impact of sustainable design we must first look to incorporating it through all aspects of our process.