# data[].attributes.attachment_link.title
CREATIVE BRIEF_YR 11 VCD ASSESSMENT TASK

# data[].attributes.attachment_link.title
Rough Sleepers  |  Homelessness Documentary

# data[].attributes.headline
Regional Homeless Documentary EXPLICIT LANGUAGE

# data[].attributes.subject
Regional Homeless Documentary EXPLICIT LANGUAGE

# data[].attributes.attachment_link.title
Regional Homeless: Australia’s hidden problem

# data[].attributes.attachment_link.readable_text
What is the Sheltersuit?
The Sheltersuit is a water- and windproof coat that can easily be transformed into a sleeping bag, providing full-body protection.

Without having any refuge to turn to, people constantly struggle to survive the cold across the world. We believe that everyone at all times deserves protection, dignity and warmth. That's why Sheltersuits are given away for free.

Do you share the same ideals? Help us to spread more warmth and shelter!

I want to donate!

# data[].attributes.attachment_link.title
Sheltersuit | Helps homeless people and refugees | Donate now for aid

# data[].attributes.attachment_link.description
What is the Sheltersuit? The Sheltersuit is a water- and windproof coat that can easily be transformed into a sleeping bag, providing full-body protection. Without having any refuge to turn to, people constantly struggle to survive the cold across the world. We believe that everyone at all times deserves protection, dignity and warmth.

# data[].attributes.attachment_link.provider_name
AIGA | the professional association for design

# data[].attributes.attachment_link.readable_text
Design for Good is an ethos to use problem-solving and design thinking towards social change.

AIGA Design for Good highlights opportunities of engagement for designers to build their practice, expand their network, and have hands-on leadership opportunities. Design for Good recognizes the wide range of designers' work and hands-on leadership and professional development opportunities, which benefit the world, our country, and our communities.

Design for Good sustains designers playing a catalytic role through community projects that create positive social impact. By supporting designers through online networks, inspirational stories, meaningful programs, open dialogues and chapter events, impact measurement toolkits, and national advocacy and promotion, Design for Good serves as a powerful resource for designers who wish to work in this area and a beacon for designers leading the charge.

The Design for Good umbrella includes the following strategic initiatives:

Design for Democracy (program focus: Get out the Vote and ballot design)

Diversity & Inclusion (program focus: D&I Guidebook)

(program focus: Gender Equity Toolkit)

and the repositioned Design for Communities (which covers most of the chapter activities, including partnerships with local nonprofits, youth development programs, creative placemaking efforts to name a few)

Ways to get involved with AIGA

Meet the new Design for Good task force.

Join us for the Design for Good monthly webcast series, which started December 2, 2016, and has new episodes rolling out the third Friday of each month through Spring 2017. The program will address the following themes: social impact design, gender equity, civic engagement in urban communities, government innovation, racial justice by design, youth development, impact measurement methods, and public health access.

Read through our rich collection of case studies profiled below, which cover a wide range of stories from designers pushing health care and safety clients to embrace social innovation to engaging in cities, partnering with local non-profits, and more. See how design can make an impact.

View our resource list of organizations, schools, programs, training and fundraising opportunities

Follow @AIGAdesign on Twitter and tag your Design for Good tweets with #AIGAdg

How to engage Design for Good in your community

The outline below was largely inspired by the work of 2017 Medalist Mark Randall 's long standing practice in social impact design.

Levels of engagement

Design for Good

1. Initiate a project or group that uses design skills

2. Facilitate design thinking

3. Establish a socially-engaged business or nonprofit

4. Inspire a movement

Designers for good

1. Observe and engage through social media

2. Investigate and advocate for social causes

3. Donate money or goods to an organization

4. Volunteer time to a local organization or community

5. Create a fundraising event for a local nonprofit

How do I begin?

1. Explore your passions. Become curious about your local communities, government, and nonprofits

2. Design with heart. Follow your interests and offer your natural abilities

3. Be realistic and think small. Big changes can ripple out from close to home, and every community needs good design

4. Build relationships. Your partnerships allow you to accomplish more with less by leveraging the assets each individual and/or group brings to the table. Be considerate of the assets that already exist within the community, and engage community members in your process. They're essential to doing good design

5. Iterate. Don't be afraid to fail, and learn from that experience

6. Persevere. Designing for social change is hard work, but it's work that needs doing, and designers have a special skill set to bring into questioning society

7. Measure. Start thinking about data and metrics early on, evaluate your work, and constantly ask yourself if you've achieve your goals

8. Document your work. Storytelling is the best way to engage an audience for your cause. Be inspired to utilize photography, voice recording, video, and workshop style exercises to gather and retain information

9. Connect online. If you'd like to connect, follow our social media channels, watch our webcasts, and YouTube videos. You can also submit a case study of your own to AIGA.

Where design thinking can have an impact:

Domestic violence

Food desert and access to quality nutrition

Gentrification

Homelessness

Immigration

Poverty

Public health

Race & gender equality

Recycling and conservation

School To prison pipeline

Support for artists

Veterans issues

Voter registration and participation

Water access and safety

Any reality that is unmet or needs clarity, advocacy, and/or a voice

Skills that are commonly needed:

Design for good is about good design

Graphic design

Branding and identity

Creative direction

Event organization & promotion

Design thinking facilitation

Storytelling via print, digital, video and motion

Communications strategy

Business development

Product development

Exhibit design/ Interpretive design

# data[].attributes.attachment_link.description
AIGA Design for Good highlights opportunities of engagement for designers to build their practice, expand their network, and have hands-on leadership opportunities. Design for Good recognizes the wide range of designers' work and hands-on leadership and professional development opportunities, which benefit the world, our country, and our communities.

# data[].attributes.body
Self Assembly Lab

# data[].attributes.attachment_link.description
Self-Assembly Lab Team: Skylar Tibbits, Athina Papadopoulou, Carrie McKnelly, Christophe Guberan, Jennifer Glerum Wood-Skin Team: Giulio Masotti, Stefano Baruffaldi, Susanna Todeschini, Gianluca Lo Presti, Guido Masotti Through a collaboration between MIT's Self-Assembly Lab and Wood-Skin S.r.l. a revolutionary new type of furniture has been designed.

# data[].attributes.body
Car Rooftop Tent

# data[].attributes.attachment_link.title
Sebastian Maluska creates car rooftop tent for nomadic young people

# data[].attributes.attachment_link.description
ÉCAL graduate Sebastian Maluska has created a simple rooftop tent that can be fitted to the roof of any car. Maluska, who studied product design at Ecole cantonale d'art de Lausanne (ÉCAL) in Renens, Switzerland, created his tent for adventurous young people who want to travel on a budget, or go to remote areas.

# data[].attributes.body
TED Talk

# data[].attributes.attachment_link.title
Mileha Soneji: Simple hacks for life with Parkinson's

# data[].attributes.attachment_link.description
Simple solutions are often best, even when dealing with something as complicated as Parkinson's. In this inspiring talk, Mileha Soneji shares accessible designs that make the everyday tasks of those living with Parkinson's a bit easier. "Technology is not always it," she says. "What we need are human-centered solutions."

# data[].attributes.body
TED Talk

# data[].attributes.attachment_link.title
Design Thinking: Solving Life’s Problems | Suresh Jayakar | TEDxCrenshaw

# data[].attributes.body
TED Talk

# data[].attributes.attachment_link.title
Amos Winter: The cheap all-terrain wheelchair

# data[].attributes.attachment_link.description
How do you build a wheelchair ready to blaze through mud and sand, all for under $200? MIT engineer Amos Winter guides us through the mechanics of an all-terrain wheelchair that's cheap and easy to build -- for true accessibility -- and gives us some lessons he learned along the road.

# data[].attributes.body
TED Talk

# data[].attributes.attachment_link.readable_text
Get a daily email featuring the latest talk, plus a quick mix of trending content.

By subscribing, you understand and agree that we will store, process and manage your personal information according to our Privacy Policy

# data[].attributes.attachment_link.title
Bastian Schaefer: A 3D-printed jumbo jet?

# data[].attributes.attachment_link.description
Designer Bastian Schaefer shows off a speculative design for the future of jet planes, with a skeleton inspired by strong, flexible, natural forms and by the needs of the world's, ahem, growing population. Imagine an airplane that's full of light and space -- and built up from generative parts in a 3D printer.

# data[].attributes.attachment_link.title
Why I'm an architect that designs for social impact, not buildings | Liz Ogbu | TEDxMidAtlantic

# data[].attributes.attachment_link.readable_text
A group of students from London's Royal College of Art have designed a prototype coat for refugees that transforms into a tent or a sleeping bag (+ movie).

Made from paper-like synthetic material Tyvek, the Wearable Habitation coat is insulated with Mylar - a polyester material commonly used by marathon runners to keep warm.

When worn as a coat, the design resembles a baggy parka with a large hood. Pockets on the inside can be used to store passports and personal documents.

Black zips allow the coat to be completely opened out and transformed into a sleeping bag. Lightweight kite-rods can then be fed through specific seams to form a tent. Visual assembly instructions will be printed onto each garment.

Sheltersuit coat doubles as a sleeping bag for the homeless

"We spoke with Médecins Sans Frontières to get an idea of what a refugee's journey truly was," said Harriet Harris, one of the project leaders. "Our garment has three stages of use: one as a piece of clothing, one as a sleeping bag and one as a tent."

"These three aspects adapt to the conditions a refugee would experience through their two- to five-week journey," she told Dezeen.

The coat was developed by mixed teams of students from the RCA's interior design and textile courses, who were asked to develop wearable shelters for those displaced by conflict in their home countries.

The brief for the Wearable Habitation project - set by professors Harris and Graeme Brooker - stated that the coats had to be able to reconfigure into a small dwelling or tent-like structure with enough room to accommodate two to four people. Material used needed to be both cost effective and sustainable where possible.

"The original design project was run as a team-based, one-week 'hackathon' - we wanted imaginative ideas as our starting point," said Harris. "We then merged three of the strongest design proposals into one coherent proposal that is now with the factory for prototyping."

A Kickstarter campaign to fund the first batch of coats aims to raise £300,000 by the end of February, after which point the team believes it can become self-sufficient.

"Once we have the prototypes back from the factory in China we will engage with refugees and conduct site visits, plus rigorous testing to further improve the garment," Harris said. "The completed testing and prototyping of this version will inform designs for a winter version and a child version."

In response to Europe's ongoing refugee crisis, disaster relief and humanitarian projects formed one of the biggest design and architecture topics of 2015.

Last year, artist Banksy sent materials from his dismantled Dismaland theme park to the Jungle refugee camp near Calais, where it will be used to construct shelters for some of the region's 7,000 refugees.

Currently, Scottish design agency Suisse is raising funds to develop its RD-Shelter prototype, which could be rapidly deployed to house people displaced by war or natural disasters.

"Good design isn't about technologies and devices - it has a social heart and a role to play in meeting the needs of people facing impossible challenges," said Harris. "Right now, working solutions to the current crisis are limited and the suffering doesn't seem to stop."

"Whilst our wearable won't solve the whole problem it addresses a small part of it," she added.

Photography is by Joshua Tarn.
Project credits:
Design team: Gabriella Geagea Anne, Sophie Geay, Cassie Buckhart, Eve Hoffman, Anna Duthie, Jess Wang, Hailey Darling, Zara Ashby, Ruben Van Bossche and Guilia Silovy.

# data[].attributes.attachment_link.title
RCA students design wearable dwelling for Syrian refugees

# data[].attributes.attachment_link.description
A group of students from London's Royal College of Art have designed a prototype coat for refugees that transforms into a tent or sleeping bag.

# data[].attributes.attachment_link.description
Hecker Guthrie 1 Balmain Street Richmond Cremorne Victoria 3121

# data[].attributes.body
Designing brands that make a difference

# data[].attributes.attachment_link.description
Defining and designing brands that make a difference

# data[].attributes.headline
Branding - Graphic Design and LetterPress

# data[].attributes.subject
Branding - Graphic Design and LetterPress

# data[].attributes.attachment_link.title
The Hungry Workshop - Design and Letterpress Melbourne

# data[].attributes.attachment_link.description
A different kind of studio. Design and Letterpress Melbourne

# data[].attributes.attachment_link.readable_text
​​​​​

Ways of drawing

Manual freehand drawing

This refers to any drawing that is executed by hand (manual) and without the assistance of instruments such as rulers, set squares or templates. These drawings will be done using a range of manual media such as pencils, fine liners, charcoals, pastels and chalks. Manual freehand drawing is predominantly used for Observational Drawing and Visualisation Drawing.

Digital freehand drawing

This refers to any drawing that is generated on a digital device within a software program that allows a 'freehand' style of creation with a stylus or the 'pen' or 'brush' tools. While this technique for drawing could be used for Observational and Visualisation drawing, it is more often seen at the later stages of development of concepts and used in Presentation Drawings, especially with concept renderings.

Manual instrumental drawing

These drawings are constructed with the assistance of drawing instruments such as rulers, set squares, t-squares, drawing boards and templates. These drawings will be drawn to a specific drawing system and will follow the standards, rules and conventions outlined in the technical drawing specifications (pdf - 5.88mb) located on the Victorian Curriculum and Assessment Authority website.

Instrumental Drawings are not used for Observational Drawing and while they may appear in later stages of ' generation of ideas' they are more specifically relevant in the ' development of concepts', ' refinement' and ' final presentation ' stages of the design process.

Digital instrumental drawing

These drawings are undertaken using a digital device and software that allow accurate, detailed drawings to be constructed using measurement dialogue boxes and tools that permit the entry of specific data such as dimensions and angles. These drawings must still reflect a specific drawing system and must follow the standards, rules and conventions outlined in the technical drawing specifications (pdf - 5.88mb) located on the Victorian Curriculum and Assessment Authority website.

Instrumental Drawings are not used for Observational Drawing and while they may appear in later stages of ' generation of ideas' they are more specifically relevant in the ' development of concepts', ' refinement' and ' final presentation ' stages of the design process.

Drawing systems

Two-dimensional drawing

Third-angle orthogonal drawings

Each view of an object (front, top and sides) is drawn separately showing only two dimensions, but is kept aligned and to the same scale. Combining a view from the top, the front and sides, allows all three dimensions to be considered. Third-angle projection refers to the layout of views.

Floor plans and elevations

Scaled two-dimensional drawings used in the design and construction of structures, involving a set of conventions regarding line types, dimensioning and symbols. Floor plans are views from above, while elevations refer to views of the side or facade.

Packaging net

A drawing of a flat two-dimensional shape that becomes a three-dimensional form when it is folded. It can also be referred to as a development net. Often a packaging net will include tabs for stability and fastening. The drawings are to 1:1 scale and involve the use of line conventions that indicate fold lines (broken lines) and cutting edge (solid outline).

Three-dimensional drawing

Paraline

Objects are drawn with the set of lines for each plane (width, depth and height) remaining parallel (hence the term 'para-line'). A form of Paraline drawing is axonometric and for this study the focus is on the Isometric and Planometric drawing systems.

Isometric:

Constructed from a corner view, with both sides of the object (width and depth) receding from the corner edge at 30 degrees; height remains vertical. The isometric drawing provides a comprehensive overall view of the object using true measurements and retaining true proportion.

Planometric:

This projection is based on a plan view (or floor plan) of a structure when rotated by 45 degrees to the horizontal so that the angle between left and right sides of a rectangular structure remain at 90 degrees. (It may also be rotated by 30 degrees where the other side is at 60 degrees and where the internal angle will remain at 90 degrees). Height is then added to objects or walls on the plan, taking the dimensions from the elevations and depicting these on the vertical axis.

Perspective Drawing

Perspective is a pictorial system where objects and structures are drawn in a manner so that their size reduces further from the position of the observer. Perspective uses either one or two sets of receding lines to depict depth, originating on a plane or a 'closest vertical' which converge towards a point or points situated on a horizon line (eye level). The vertical placement of the horizon line and the distance between vanishing points determine the relationship between the viewer and the subject and provide capacity for different views of an object or structure or the relationship of parts to each other.

One-point perspective:

Objects or structures are drawn front on, with depth depicted by receding lines converging to one vanishing point on the horizon line. The horizon line represents the eye level of the viewer. The vanishing point may be situated inside, above, below or to the left or right side of the object.

Two-point perspective:

Objects or structures are drawn with a corner closest to the viewer (closest vertical). Width and depth are depicted by groups of receding lines converging to two vanishing points on the horizon line. The horizon represents the eye level of the viewer and may be situated running through, above or below the object or structure. The vanishing points are situated to the left and right side of the closest vertical. The scale of an object or structure can be depicted in a realistic or exaggerated manner through the manipulation of the relationship between the object or structure, the vanishing points (cone of vision) and the horizon line (eye level).

# data[].attributes.attachment_link.description
​​​​​ This refers to any drawing that is executed by hand (manual) and without the assistance of instruments such as rulers, set squares or templates. These drawings will be done using a range of manual media such as pencils, fine liners, charcoals, pastels and chalks.

# data[].attributes.attachment_link.readable_text
Remember clip art and motion effects from the 90's? The days of clumsy presentation templates are over, and the ability to create beautifully designed slides is easier than ever.
Do you need to create presentations at work or school? Great design can help your ideas stand out and read effectively - improving your ability to become a great communicator.

Try these five tips to improve your presentation design skills. To put them into practice, jump straight the interactive tutorial at the end of this blog!

01 . Use design techniques

Forget pages of dot points and 3d titles. Presentations don't need to be boring - use your design skills to create beautiful slides that relay your message powerfully.

These steps were taken to create this slide:

An image was used a background with a filter applied to create a moody 'Shanghai' feel.

The transparency of the white square shape was increased to create a text holder.

Different font sizes and colors have been used to create typographic hierarchy.

Lines were placed above and below the body text to break it up.

02. Place your images in grids

Avoid naked images - using grids will give your presentation a professional edge.

Place your images intentionally within your grid. Notice how the bottom two images share a diagonal line, while the top image has a hard horizon line - these complement each other.

Placing images in a grid also leaves you with lots of white space to place text. This will ensure your written content won't be overpowered by other graphic elements.

03. Match a strong cover with simple content slides

The idea of 'less is more' is about achieving better design through simplicity. Apply this for your body slides - avoid using too many elements (images, shapes, different fonts etc) to ensure your message comes across clearly.

To balance out your simple slides, add a strong cover. See how an image has been used a background in the cover slide above and paired with a solid shape as a text holder.

04. Use the same frames

Frames are a great way to contain your information. These frames have been created using a transparent shape.

Duplicate your slides to use your frames consistently - a key principle of good presentation design.

05. Duplicate your slides

Once you've created a slide you're happy with, save it as a template. This means you can duplicate it and adapt the content as body slides. This provides cohesion and is a great time-saver if you're turning over presentations on a regular basis.

As an extra design tip, bold numbers and bullet points are great visual devices to break up your information.
Discover how easy it is to create great presentation design in Canva - try the interactive tutorial below!

# data[].attributes.attachment_link.title
How to design a powerful presentation - Learn

# data[].attributes.attachment_link.description
Remember clip art and motion effects from the 90's? The days of clumsy presentation templates are over, and the ability to create beautifully designed slides is easier than ever. Do you need to create presentations at work or school? Great design can help your ideas stand out and read effectively - improving your ability to become a great communicator.

# data[].attributes.body
UnSplash - Free Images

# data[].attributes.attachment_link.title
Beautiful Free Images & Pictures | Unsplash

# data[].attributes.attachment_link.description
Beautiful, free images and photos that you can download and use for any project. Better than any royalty free or stock photos.

# data[].attributes.attachment_link.title
How to Make a Double Exposure Effect in Photoshop | Adobe Creative Cloud

# data[].attributes.attachment_link.title
How to Make 3D Lettering in Illustrator | Adobe Creative Cloud

# data[].attributes.attachment_link.keywords[]
adobe creative cloud photoshoptouch adobecollage adobeproto adobedebut adobekuler touchapps service applications "creative cloud" "creative suite" "adobe ideas" "photoshop touch" "adobe collage" "adobe proto" "adobe debut" "adobe kuler" "adobe touch apps" "touch apps" "creative cloud" "mobile applications" "adobe systems" "web design" "graphic design" "website design" "mobile apps" "adobe creative" "adobe creative suite"

# data[].attributes.attachment_link.description
Adobe® Creative Cloud™ brings together everything you need to create your greatest work. One simple membership gives you and your team access to the very latest versions of all the Adobe professional creative desktop applications like Photoshop, Illustrator, and more plus new features and upgrades as soon as they're available.

# data[].attributes.attachment_link.title
✄ Inside My (A2) A Level Graphic communication Coursework Sketchbook  | Lili Phillips

# data[].attributes.attachment_link.description
Henrietta Ross introduces her sketchbook work which includes research and development for: the Letterform Tasks; Visual Grammar; Colour Exploration; and Structure and the City (Professional and Academic Contexts). Henrietta outlines the Design for Visual Communication course mantra of Document, Experiment, Evaluate and Contextualise. The video is useful for those new to visual communication who don't necessarily understand sketchbook work.

# data[].attributes.attachment_link.readable_text
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. 🙂

# data[].attributes.attachment_link.title
Art Sketchbook Ideas: Creative Examples to Inspire Students

# data[].attributes.attachment_link.description
Looking for art sketchbook ideas? This article showcases excellent high school sketchbooks - inspiration for the student and teacher.

# data[].attributes.attachment_link.title
Ethics in Graphic Design — Eileen MacAvery Kane

# data[].attributes.attachment_link.description
“Ethics in Graphic Design” is a forum for the exploration of ethical issues in graphic design. It is intended to be used as a resource and to create an open dialogue among graphic designers about these critical issues.

# data[].attributes.attachment_link.readable_text
Better Sharing, Brighter Future

"Twenty Years of Creative Commons (in Sixty Seconds)" by Ryan Junell and Glenn Otis Brown for Creative Commons is licensed via CC BY 4.0 and includes adaptations of the multiple open and public domain works. View full licensing and attribution information about all works included in the video on Flickr.

Creative Commons is an international nonprofit organization that empowers people to grow and sustain the thriving commons of shared knowledge and culture we need to address the world's most pressing challenges and create a brighter future for all.

Learn more

The nonprofit behind the licenses and tools the world uses to share

For over 20 years, Creative Commons has supported a global movement built on a belief in the power of open access to knowledge and creativity. From Wikipedia to the Smithsonian, organizations and individuals rely on our work to share billions of historic images, scientific articles, cultural artifacts, educational resources, music, and more!

Wikipedia

55+ million articles

Every one of Wikipedia's 55 million plus articles are shared openly and freely using a CC license.

The Met

492,000+ images

All images of public-domain works in the Met's collection are openly available under Creative Commons Zero (CC0).

Khan Academy

100,000+ lessons

Many of the lessons found on Khan Academy are openly licensed under CC-BY-NC-SA.

Wikipedia

55+ million articles

Every one of Wikipedia's 55 million plus articles are shared openly and freely using a CC license.

The Met

492,000+ images

All images of public-domain works in the Met's collection are openly available under Creative Commons Zero (CC0).

Khan Academy

100,000+ lessons

Many of the lessons found on Khan Academy are openly licensed under CC-BY-NC-SA.

Wikipedia

55+ million articles

Every one of Wikipedia's 55 million plus articles are shared openly and freely using a CC license.

The Met

492,000+ images

All images of public-domain works in the Met's collection are openly available under Creative Commons Zero (CC0).

Khan Academy

100,000+ lessons

Many of the lessons found on Khan Academy are openly licensed under CC-BY-NC-SA.

Latest News

Open Culture
Cropped, Open Culture Strategic Workshop by Filipa Alfama, CC BY 4.0

One year after Creative Commons (CC) hosted an exploratory Open Culture Roundtable, in Lisbon, Portugal, which initiated the Towards a Recommendation on Open Culture (TAROC) global initiative, nearly 50 stakeholders from all continents gathered again for a strategic workshop, in Lisbon in May 2024. In this blog post, we share a snapshot of key highlights.

About CC

Open Culture, Open Heritage

About CC, Community

About CC

more posts

Images Attribution
view

Open Culture
Cropped, Open Culture Strategic Workshop by Filipa Alfama, CC BY 4.0

One year after Creative Commons (CC) hosted an exploratory Open Culture Roundtable, in Lisbon, Portugal, which initiated the Towards a Recommendation on Open Culture (TAROC) global initiative, nearly 50 stakeholders from all continents gathered again for a strategic workshop, in Lisbon in May 2024. In this blog post, we share a snapshot of key highlights.

About CC

Open Culture, Open Heritage

About CC, Community

About CC

Images Attribution
view

Le Sortie de l'opéra en l'an 2000 by A. Robida - Library of Congress Prints and Photographs Division - Public Domain.

" An Original Theory or New Hypothesis of the Universe. Plate XXXI. ". By Thomas Wright. Public Domain

" Community Needs Care" by Camila Leão for Fine Acts x OBI is licensed via https://creativecommons.org/licenses/by-nc-sa/4.0/.

CC staff photos are licensed under CC BY 4.0. Gratitude to Sara Jordan Photography.

# data[].attributes.attachment_link.description
Creative Commons is an international nonprofit organization that empowers people to grow and sustain the thriving commons of shared knowledge and culture we need to address the world's most pressing challenges and create a brighter future for all.

# data[].attributes.attachment_link.title
Arts Law : Archive : Information Sheets A-Z Listing

# data[].attributes.attachment_link.description
Arts Law Centre of Australia - Read information sheets in an alphabetical listing

# data[].attributes.attachment_link.description
These are hot-button issues for educators. Digital disruption has transformed the way we access and disseminate information. Educators play a critical role in guiding students through the ever-changing digital landscape.

# data[].attributes.body
Smart Copying

# data[].attributes.attachment_link.readable_text
A guide to copyright issues affecting schools and TAFE

Everything you need to know about
Creative Commons and
Open Education Resources,
including where to find them

Learn More About Creative Commons

Educational resources to assist you to educate yourself and your students on copyright

COVID-19 Copyright Issues

Information sheets that provide important information about remote and online learning during the COVID-19 outbreak

Read More

National Webinar Series

Practical copyright training for educators, librarians and administrators in Schools and TAFE

Read More

Copyright 4 Educators Online Course

A free online course for educators wanting to learn about copyright

Read More

Newsletters

Copyright news for Australian Schools and TAFE

Read More

NCU Powerpoint
Presentations

PowerPoint slides from presentations on copyright in education given by the National Copyright Unit

Read More

Flowcharts

Flowcharts that assist when uploading resources to a public website or password protected intranet and contain third party material

Read More

Frequently Asked Questions

This section will provide you with updates on current copyright law reform

The National Copyright Unit (NCU) is the specialist
copyright team responsible for copyright policy
and administration for Australian schools and TAFE

Learn More About Smartcopying

Sign up to our Newsletter

Please enter your details in the form to be added to the
mailing list for the National Copyright Unit's newsletter
and announcements

# data[].attributes.attachment_link.description
A guide to copyright issues affecting schools and TAFE Everything you need to know about Creative Commons and Open Education Resources, including where to find them Learn More About Creative Commons Educational resources to assist you to educate yourself and your students on copyright Information sheets that provide important information

# data[].attributes.attachment_link.readable_text
​​​​​

The VCE Visual Communication and Design Study Design points out the concepts and practical knowledge relating to copyright and intellectual property which teachers need to explore with students in this study.

Unit 1 introduces students to the importance of copyright and intellectual property obligations when using the work of others in visual communication and the conventions for acknowledging sources of inspiration.

Unit 2 requires students to apply the knowledge acquired in Unit 1 relating to the concepts of copyright, intellectual property (IP) and the legal obligations faced by designers as they create their own visual communications, particularly where these draw upon or use typefaces, logos and images created by others.

In Units 3 and 4 students continue to develop their understanding of how ethical and legal issues shape the design process through analysing the works of actual contemporary designers from the communication, environmental and industrial design professions. They demonstrate their understanding of how to manage copyright and intellectual property aspects within the design process, undertaking extensive research of designs across a broad range of works and media in order to respond to a specific brief and producing their own final visual communication presentations.

Teachers need to explore with students the concepts of copyright and intellectual property and how designers manage copyright and Intellectual property obligations in practice.

Teachers also need to assist students to understand and address copyright and other legal obligations in relation to the works they create for the successful completion of this study.

Teaching the concepts of copyright and Intellectual property

Within the conceptual discussion, teachers can address aspects such as the:

concepts of copyright and intellectual property as legal protection and usage regimes, set out in legislation (the Copyright Act, the Trademarks Act, the Designs Act, the Patents Act) which aim to balance the exclusive rights of creators, inventors and owners against the broader needs of society to have benefits from creations, designs and inventions

different types of Intellectual property and which legislation provides protections and rights for each type

kinds of protection provided under copyright or other Intellectual property laws, the limitations of that protection (e.g. time limited) and the different practical and business processes involved in securing protection under the law (e.g. whether registration is required or not)

obligations of end-users as set out under law, and as imposed by industry conventions and practices, which determine how a designer might make use of another's design work or creation

way in which actual practices and methods used by designers (e.g. 'appropriation') can also be in tension with legal requirements or contractual obligations, and can raise legal risks for the designer or their employer

way in which the rights set out in copyright and intellectual property legislation can be altered by contractual business arrangements (e.g. commissioning contracts) and how these can determine how a design or works are accessed and used in the design process, or who owns a finished work.

The following organisations provide a good starting point for exploring copyright and intellectual property concepts for artists and designers:

ArtsLaw provide information and general advice for artists and designers, offering various resources includinginformation sheets on a wide range of topics. These are written by professional legal advisers and cover a wide range of legal issues (not just copyright but also other important legal issues such as defamation).

IP Australia (https://www.ipaustralia.gov.au/) is the Australian federal government agency that administers intellectual property rights and legislation relating to patents, trademarks, designs and plant breeders' rights. The IP Australia website includes searchable registers for existing trademarks and registered designs, as well as a range of information and advisory resources aimed at industry professionals and educators.

The Australian Copyright Council (ACC) specialises in the provision of a range of advice and information resources specifically about copyright law. The ACC's information sheets provide a good starting point for exploring copyright issues. Search topics via the ACC website'sFind and Answer facility.

The National Association for the Visual Arts (NAVA) has an Information Hub for members, providing a wide variety of resources to assist educators and professionals in the visual arts sector. In addition to a specific set of information sheets covering copyright, designs and intellectual property, NAVA's resources for artists and designers include other relevant topics such as business skills (contracts and agreements), organising public exhibitions and working with Indigenous art. Note that accessing the detailed resources on the NAVA site may require students or teachers to set up a member account with NAVA (see also theTerms and Conditions for use).

Teachers assisting students to understand copyright and other legal obligations in their work

The educational allowances within the Copyright Act permit students and teachers with broad scope to use 'third-party' copyright content (all manner of works created recorded or written by others) in the context of giving and receiving educational instruction. This extends to use of third-party copyright works in a student's work undertaken as part of a course and destined for assessment.

However, where students will be using their coursework for purposes beyond assessment (e.g. inclusion in a personal/professional portfolio 'post-school', or submission to external competitions or exhibitions) teachers will need to assist students to understand the legal implications of this shift from the classroom to more public forums and uses.

Teachers should not attempt to provide legal advice to students. In some cases, students may need to consult with an independent legal professional about their design work, depending on what that work entails and their intended purpose for it, aside from coursework and assessment.

For information and advice about how to manage copyright in the classroom context as a part of the teaching and learning process, teachers should access the information and guidelines provided by the National Copyright Unit (responsible for copyright policy and administration for the Australian schools and TAFE sectors) on their Smartcopying website. They should also seek specific advice from the relevant school sector Copyright Advisers as indicated at that site (Contacts section).

Though aimed primarily at educators and teachers, students may also find the Smartcopying site informative as a reference for what they may do in class when using third-party copyright materials in the development of their own body of design work.

For students seeking to submit their designs for exhibition in the VCAA's Top Designs exhibition, detailed copyright guidelines are available on the main Season of Excellence webpage.

Teachers should work through these guidelines with the participating students and may seek further clarification on copyright issues relevant to the Top Designs submission and exhibition, directly from the VCAA, according to the contact details provided in the guidelines.

The following websites provide up-to-date information on copyright, intellectual property and moral rights:​

Business Victoria Copyright information

A full reference for Copyright in the graphic design industry, including moral rights.

# data[].attributes.attachment_link.description
​​​​​ The VCE Visual Communication and Design Study Design points out the concepts and practical knowledge relating to copyright and intellectual property which teachers need to explore with students in this study. Unit 1 introduces students to the importance of copyright and intellectual property obligations when using the work of others in visual communication and the conventions for acknowledging sources of inspiration.

# data[].attributes.attachment_link.description
Development Impact and You - Practical tools to trigger & support social innovation

# data[].attributes.attachment_link.title
The importance of a design brief - Mike Eberly | Graphic Design

# data[].attributes.attachment_link.description
The design brief is one of the essential parts of the design process. Starting a project without one would be a bit like proceeding to build a house without a blueprint. Although it may be possible to do, you may finish the house and then realize that you should have put your door elsewhere.

# data[].attributes.body
Copyright Information & Links

# data[].attributes.headline
Guide to Human Centred Design - Activity Ideas

# data[].attributes.subject
Guide to Human Centred Design - Activity Ideas

# data[].attributes.attachment_link.readable_text
As I gear up to team-teach a STEAM course for the first time next semester, I've been thinking about what it really means to integrate all of these disciplines together. What does it really look like to teach in a collaborative environment where the focus is process, not product? How do I encourage the use of the 4 Cs while maintaining the integrity of my art curriculum?

Trying to find some answers, I've stumbled upon too many articles and resources arguing that the arts should be a "small a" in STEaM. Or, even worse, that exclude the arts because the authors feel they don't hold the same weight as the other subjects. This conundrum not only pops up in the STEM/STEAM conversation, but also with initiatives like Project-Based Learning and Makerspaces. Art can be a powerful tool in these collaborative frameworks. As art teachers, we should take note.

So, the question remains:

How does art fit with these initiatives?

If you teach in an elementary or middle school (or maybe even high school), chances are, you can think of many scenarios when you've been asked to work standards from other subjects into your curriculum. These requests can be so overwhelming that some teachers refuse them all and take comfort in doing "art for art's sake." Of course, this is completely ok. We shouldn't have to intertwine every science or math standard to make our curriculum more rigorous or valid. Art education can, and should, stand independently for many reasons.

However, I want to look at this absorption of art into STEM from another angle. Instead of becoming annoyed and defensive, what if we thought of art as the true equalizer? What if art is the subject that brings these disciplines together to create more meaning, more interest, and more success for our students?

For this reason, I choose to embrace STEAM, PBL, Makerspaces, and any other frameworks where art can act as a guiding and motivating factor.

Two Ways to bring Art into STEM

One of the easiest ways to start weaving Art with a capital "A" into a STEM curriculum is to use concepts from the STEM fields in your classroom.

Let's take the scientific method, for example. Scientists use this method as a basis for experimentation. They ask questions, develop hypotheses, and draw conclusions. You may have not realized that there are two artistic frameworks where these same ideas are present.

The Studio Habits

The Studio Habits correlate to many steps within the scientific method. Inviting students to compare the two and discover similarities is a great way for students to realize the natural connections between both art making and science experimentation.

The Design Thinking Process

An even closer link to the art making process can be seen with the design thinking process. In general, it comes down to five essential concepts: Defining/Observing, Empathizing, Visualizing, Creating Prototypes, and Testing/Refining. The process is definitive; students are clearly exposed to steps guiding their thinking, planning, and execution of projects and tasks.

Of course, as art teachers, we may wonder where the meaning and personal connections are within this process. However, that's the beauty of partnering with other teachers. Students can get a well-rounded look at a topic through multiple subjects.

Take a peek at the entire process in the download below.

Download Now

If you'd like to learn more about makerspaces, Project-Based Learning, Design Thinking and more, check out AOE's course Project Based Art Room where you'll explore some of the most popular collaborative education models being used by teachers today.
How do you like to illustrate the connections between art and STEM in your curriculum?
Have you used the design thinking process in your art room?

# data[].attributes.attachment_link.title
Turn STEM to STEAM with the Design Thinking Process - The Art of Ed

# data[].attributes.attachment_link.description
As I gear up to team-teach a STEAM course for the first time next semester, I've been thinking about what it really means to integrate all of these disciplines together. What does it really look like to teach in a collaborative environment where the focus is process, not product?

# data[].attributes.headline
Design Thinking Examples - Top Designs 2017

# data[].attributes.subject
Design Thinking Examples - Top Designs 2017

# data[].attributes.attachment_link.title
Empathy Mapping: The First Step in Design Thinking

# data[].attributes.attachment_link.description
As UX professionals, it is our job to advocate on behalf of the user. However, in order to do it, not only must we deeply understand our users, but we must also help our colleagues understand them and prioritize their needs. Empathy maps, widely used throughout agile and design communities, are a powerful, fundamental tool for accomplishing both.

# data[].attributes.attachment_link.title
Share and engage with the Design Sprint Community

# data[].attributes.body
Understanding the Design Brief - Activity

# data[].attributes.attachment_link.keywords[]
trimble google sketchup software 3d modeling design cad training tutorials learning push pull earth architecture interior woodworking

# data[].attributes.attachment_link.description
SketchUp users are architects, designers, builders, makers and engineers. They are the people who shape the physical world. They are important, and they deserve great tools because great tools produce great work. At SketchUp, we do our best to make great tools for drawing. For our users, drawing is thinking.

# data[].attributes.body
Good Thinking

# data[].attributes.attachment_link.title
Good Thinking | Creative Thinking for the Community Good

# data[].attributes.attachment_link.description
Creative Thinking for the Community Good

# data[].attributes.attachment_link.title
How to write a design brief that gets you results | Canva

# data[].attributes.attachment_link.description
Learn how to write a design brief from scratch. Here, we share how to write a design brief that gets you results.

# data[].attributes.body
Design Making a difference

# data[].attributes.attachment_link.readable_text
Dutch Design Week kicked off in Eindhoven today, and Dezeen is in town hosting debates about whether design can tackle global issues. We've picked out 10 other worthy events and exhibitions, from an "embassy" exploring the future of food to a plastic recycling workshop.

Dezeen is media partner for Dutch Design Week, which runs from 21 to 29 October 2017 in Eindhoven.

There are over 600 events taking place across the city as part of the week-long festival, which this year has the theme "stretch".

These include Good Design for a Bad World, a series of five discussions hosted by Dezeen editor-in-chief Marcus Fairs, looking at whether architects and designers can provide solutions to the world's biggest problems.

But there are also many other exhibitions and events that show ways that designers are trying to make a difference, from proposing new methods of recycling to exploring sustainable approaches to construction.

"Today's world is complex and poses enormous challenges," said Martijn Paulen, director of the Dutch Design Foundation. "Designers have revolutionary ideas and innovative solutions for the future, sometimes inspiring, sometimes confrontational."

Here's our pick of the 10 best sustainably minded projects on show:

Precious Plastic Container by Dave Hakkens
Four years after first presenting his machines for recycling plastic at Dutch Design Week, designer Dave Hakkens has returned to the city to set up a mobile workspace, where he is showing designers how to make their own recycled plastic objects.

Called the Precious Plastic Container, the mobile workspace is housed in an old shipping container.

Hakkens has also using his website as an open-source platform where people can share information and tutorial videos, to help anyone make their own DIY plastic recycling workshop.
De Ontdekfabriek, Torenallee 22, 5617BD Eindhoven

W(ego) pavilion by MVRDV
Like Dezeen's Marcus Fairs, MVRDV co-founder Winy Maas is a Dutch Design Week ambassador, so the Rotterdam studio is presenting four projects for this year's event, looking at how cities will develop in the face of issues such as climate change, declining resources and rapid population growth.

Among them is this pavilion made of nine rooms that can be moved into different configurations, allowing it to adapt to the different needs of any future inhabitants - whether they be families, students or refugees.
Markt, 5611DK

Designing Sustainable Interventions by Bauhaus Universität Weimar
Seven students from Bauhaus Universität Weimar present concepts for sustainable materials and products in this exhibition.

Exhibits include a raincoat made from bio-degradable and waterproof paper, vinyl records made from bioplastic and a jacket created from self-growing textiles.
Veem, Torenallee 80, 5617BE Eindhoven

Embassies of the Future by World Design Event
There are seven "embassies" opening across Eindhoven throughout Dutch Design Week, each addressing a different issue facing humanity.

Among them is the Embassy of Climate Change, hosted by design conference What Design Can Do, which will explore ways that people can survive and adapt to global warming, and the Embassy of Food, which looks at sustainable ways of growing and processing food.

The focuses of the other five embassies are data, health, urban transformation, intimacy and, most unusual of all, robot love.
Various locations

To See the World in a Grain of Sand by Atelier NL
Dutch Design Week ambassadors Atelier NL are addressing the global sand crisis with their installation.

Studio founders Nadine Sterk and Lonny van Ryswyck have sourced sand samples from all over the world and have used them to create different types of glass. They are displaying these regional varieties, to encourage glassmakers to reduce their consumption of rare white sand.
Atelier NL, Bergmannstraat 76, 5615KG Eindhoven

We are Human Rights by Studio Bernhard Lenger
Throughout the week, eight designers are teaming up with eight human-rights defence lawyers to develop proposals that could to create better situations for vulnerable people.

Organised by Studio Bernhard Lenger, the event aims to uncover the flaws in existing systems, rather then simply come up with new ideas.
Sectie-C: Hall 14, Daalakkersweg 14-36, 5641JA Eindhoven

A New Way of Recycling by Jessica den Hartog
Another designer working with recycled plastic, Jessica den Hartog has been exploring ways to make this material more attractive.

After discovering that HDPE plastic usually becomes plain grey when recycled, she has been experimenting with new techniques that might allow for colour. She presents her findings on one of the six ABN AMRO Hotspots - a series of exhibition platforms curated by Van Eijk & Van der Lubbe.
Philitelaan, 5617AB Eindhoven

People's Pavilion by Bureau SLA and Overtreders W
The venue for Dezeen's Good Design for a Bad World talk series, People's Pavilion is a temporary structure that was built using only responsibly sourced materials, all of which will be recycled once Dutch Design Week is over.

Designed by Bureau SLA and Overtreders W, the pavilion's most striking feature is its colourful shingle facade, created from waste plastic. It also boasts a wooden structure that was assembled without glue or nails - instead, tension belts and cable ties hold things in place.
Ketelhuisplein, 5617AE Eindhoven

Planti15 by Botanic Bites
Food design studio Botanic Bites is inviting Dutch Design Week visitors to sample sausages made from oyster mushroom stems - typically a waste product.

The studio is using the stems to produce sausages that are 15 times longer than usual, to demonstrate how much more food can be produced from plant protein than meat, when using the same quantity of resources.
Ketelhuisplein, 5617AE Eindhoven

Hex House by Architects for Society
Minnesota- and Amsterdam-based Architects for Society first unveiled its concept for a rapidly deployable dwelling, able to house victims of catastrophic events, in 2016. The studio is presenting its first European prototype for the first time at Dutch Design Week.

Called Hex House, the 47-square-metre modular unit is largely made of Structural Insulated Panels (SIPs), which can be flat-packed and delivered by truck to a building site.

Each home is designed to cost less than £32,000 to build, but could be occupied for 50 to 70 years.
Ketelhuisplein, 5617AE Eindhoven

"Can designers save the world?"

# data[].attributes.attachment_link.title
10 Dutch Design Week exhibitions that show designers making a difference

# data[].attributes.attachment_link.description
Dutch Design Week kicked off in Eindhoven today, and Dezeen is in town hosting debates about whether design can tackle global issues. We've picked out 10 other worthy events and exhibitions, from an "embassy" exploring the future of food to a plastic recycling workshop.

# data[].attributes.body
Purposes of Visual Communication: Activity