Using digital storytelling as a methodology for the introduction of socially responsible graphic design in a University Bachelor of Computer Graphic Design Programme

This paper case studies the pedagogical methodology for a digital storytelling project involving final semester Bachelor of Computer Graphic Design students and students from a community based charitable arts trust. A young artist is paired with a senior tertiary graphic design student to create digital narratives that attempt to remain within the spirit of the original goals of the Digital Storytelling Movement. The project aims to introduce socially responsible graphic design to tertiary computer graphic design students and foundation arts students. Discussion of the learning outcomes of this project, including analysis of the results of the personal breakthroughs made by students as seen in their written accounts in project completion surveys are detailed

Critters in the Classroom: A 3D Computer-Game-Like Tool for Teaching Programming to Computer Animation Students

The brewing crisis threatening computer science education is a well documented fact. To counter this and to increase enrolment and retention in computer science related degrees, it has been suggested to make programming "more fun" and to offer "multidisciplinary and cross-disciplinary programs" [Carter 2006]. The Computer Visualisation and Animation undergraduate degree at the National Centre for Computer Animation (Bournemouth University) is such a programme. Computer programming forms an integral part of the curriculum of this technical arts degree, and as educators we constantly face the challenge of having to encourage our students to engage with the subject. We intend to address this with our C-Sheep system, a reimagination of the "Karel the Robot" teaching tool [Pattis 1981], using modern 3D computer game graphics that today's students are familiar with. This provides a game-like setting for writing computer programs, using a task-specific set of instructions which allow users to take control of virtual entities acting within a micro world, effectively providing a graphical representation of the algorithms used. Whereas two decades ago, students would be intrigued by a 2D top-down representation of the micro world, the lack of the visual gimmickry found in modern computer games for representing the virtual world now makes it extremely difficult to maintain the interest of students from today's "Plug&Play generation". It is therefore especially important to aim for a 3D game-like representation which is "attractive and highly motivating to today's generation of media-conscious students" [Moskal et al. 2004]. Our system uses a modern, platform independent games engine, capable of presenting a visually rich virtual environment using a state of the art rendering engine of a type usually found in entertainment systems. Our aim is to entice students to spend more time programming, by providing them with an enjoyable experience. This paper provides a discussion of the 3D computer game technology employed in our system and presents examples of how this can be exploited to provide engaging exercises to create a rewarding learning experience for our students

On the Provision of a Comprehensive Computer Graphics Education in the Context of Computer Games

Position paper for the ACM SIGGRAPH/Eurographics Computer Graphics Education Workshop 200

Agile thinking in motion graphics practice and its potential for design education

Motion Graphics is relatively new subject and its methodologies are still being developed. There are useful lessons to be learnt from the practice in early cinema from the 1890's to the 1930's where Agile thinking was used by a number of practitioners including Fritz Lang. Recent studies in MA Motion Graphics have accessed some of this thinking incorporating them in a series of Motion Graphic tests and experiments culminating in a two minute animation “1896 Olympic Marathon”. This paper demonstrates how the project and its design methodology can contribute new knowledge for the practice and teaching of this relatively new and expanding area of Motion Graphic Design. This would be not only invaluable to the International community of Motion Graphic practitioners, Educators and Researchers in their development of this maturing field. But also to the broader Multidisciplinary disciplines within Design Education. These methodologies have been arrived at by accessing the work of creative and reflective practice as defined by Carol Grey and Julian Marlin in Visualizing Research (2004) and reflective practice as defined by Donald Schon (1983). Central to the investigation has been the approach of Agile thinking from the methodology of "Bricolage" by Levi Strauss "The Savage Mind" (1966)

3 case studies: a hybrid educational strategy for ART/SCI collaborations

In this paper we report on a transdisciplinary university course designed to bring together fine art/visual communication design and computer science students for the creation and implementation of collaborative visual/audio projects that draw upon the specialized knowledge of both these disciplines. While an overview of the syllabus and the teaching methodologies is undertaken in the introduction, the focus of the paper concentrates upon an in-depth discussion and analysis of 3 specific projects that were developed by 3 distinct teams of students comprised of one artist/designer and one engineer each

An experimental study to test a 3D laser Scanner for body measurement and 3D virtual garment design in Fashion education

Artists, scientists, anthropometrists and tailors have accurately measured the human body with traditional tools, such as tape measures, callipers and accumulated visceral experience for centuries. Due to the progressive acceleration in the quality of 3D graphics technology and computer processing power, many product industries that traditionally use 3D software as a 3D design and prototyping tool, are also successfully measuring, customizing and re-engineering the products they design and manufacture through the integrated use of 3D Laser scanning technology. In the changing world of Fashion, 3D graphics technology has at last emerged from the shadows of academic research projects and hit the high streets. 3D body measurement surveys, using mobile 3D laser scanners, have mapped the true shape and body sizes of the UK and USA populations. Virtual fit and 3D visualisation technology has expanded out from the Internet, into the physical world, and is now available for shoppers to visualise made to measure garments. The acceptance of three-dimensional body-scanning and 3D digital design tools into our everyday experiences can be seen as a significant move toward encouraging and developing new, innovative learning and teaching methods in Art & Design education. This paper describes an experimental study into the application of 3D laser scanner technology for use in learning and teaching of undergraduate and postgraduate fashion and textiles design; clothing manufacture, fashion marketing, merchandising and promotion. The study focuses on testing the 3D scanning equipment with a student sample group. The use of the sample group attempts to simulate a range of body shapes, categorised by the traditional standard size chart specification method, currently used to design new fashion collections for high street clothing retail and UK fashion education. The methods applied for evaluation and testing of the 3D laser scanner for body measurement are described, and the results of the initial user experiences are discussed. The study seeks to establish the overall efficiency of 3D scanning technology and investigates the potential value for integration of the 3D Laser scanner with 3D clothing design and construction software. Conclusions provide recommendations on the potential effectiveness of connecting the results of the 3D body measurement study to the fashion curriculu