Showing posts with label design. Show all posts
Showing posts with label design. Show all posts

Tuesday, June 23, 2020

Commitment To Design, Visual Thinking, And Now The Virtual Classroom

Source: ASIDE 2020

The reminder popped up today for our ninth anniversary since starting this blog. We had good intentions of entering the fall of last year, ready to contribute more to our passion and commit to haring our ideas, but life changes. We've had changes in job responsibilities, personal additions and losses to family, and of course, COVID19.

So today, on our anniversary, we begin anew. We never wavered from our initial mission; instead, we pivoted toward a range of other opportunities. While a good portion of what our students did was in the brick and mortar phase, it was the virtual classroom that advanced the realm of possibilities for learning. The last three months reminded us more of the 18th century nursery rhyme, "Jack be nimble / Jack be quick," with students jumping over "lickety split" to synchronous online sessions of remote learning. Metaphorically, it was a stressful breeze.

Source: Imagine Museum

We were fortunate. Our students, already provided with devices and trained in using them, made the transition far easier than in many other cases. They worked on a number of different projects this year that pushed the boundaries of their design skills, their creative thinking, and their independence. As learners, they developed a knack for tackling new applications across a range of platforms to bring the world of transliteracy front and center, especially as it applies to digital humanities.

In the coming posts, we hope to share the latest work by our learners.

Friday, June 30, 2017

Social Studies, Advertising, And Persuasion: Student Travel Magazines Sell Tourism

ASIDE 2017
Over ten years ago, we heard a presentation entitled “Ban the Bird Units” by librarian and educator David V. Loertscher. Essentially, it encouraged teachers and students to get away from the mundane use of facts as reporting mechanisms. This especially holds true today in the age of Google. At the time, Loertscher used the typical biographical research report as an example of a “bird unit” in which students responded to a series of questions that followed a timeline.

The state project is another example of the typical “bird unit” in which students have to find the state motto, bird, flower, etc. Ugh! Our question is who cares? Sure, it’s good to know your state particulars, but all that can easily be found on 50States.com.

ASIDE 2017
For us, it's the “so what” or remix of research to deliver content that demonstrates a higher-order thinking process with other skills that go beyond mere facts. The state magazine covers in this post required research, creative writing, and media literacy to do just that.

The students were challenged to develop clever ways to entice readers to visit their states, including titles that used alliteration for the magazine masthead and catchy sales lines just below the masthead with one of the state’s main marketing points.

They looked at the design and layout of real travel magazines. We discussed the different techniques that advertisers used to attract attention, and we critiqued covers based on design, color, and layout to see which ones were most effective in creating visual appeal. The students also observed the conventions for writing the story taglines as ways to hint at the content inside.

ASIDE 2017
The kids had a ball bringing their states to life, and they willingly helped each other out to create clever promotional ideas. The process seamlessly integrated social studies content with media literacy skills. Their finished designs became the focal points to attract visitors to their booths at the school's annual State Fair.

As for the birds, they left the nest!

Wednesday, May 31, 2017

Making Learning Visible – 1st Grade Infographics

Source: ASIDE 2017
We’ve built our mission on the idea that making learning visible through design changes they way learners view content. The examples in this post by our first graders illustrate just how important design was in providing a context for their Arctic animal research. This was our youngest group to tackle creating infographics, and boy, did they do a great job.

This crop of little designers followed a set of guidelines set up by our colleague Stephanie Temple (@stemple3) to organize the information. The process allowed them to follow step-by-step instructions regarding font selection, number of pictures, and factual information. Of course, choice meant that the students could personalize their work once they completed the basic criteria. Several capable students also took it upon themselves to do more; this provided an added level of differentiation.

Source: ASIDE 2017
Using infographics offers students an opportunity to display their research in a visual representation that can be easily understood. Students from second through eighth grade know this process, and we’re happy to say that we’ve added first grade into the mix. In fact, by the time they hit middle school, it becomes routine. They learn to critique each other for contrast, layout, typography, and more.

Source: ASIDE 2017
We keep the elements and principles of design posted in our classrooms and also electronically on their student portal. As a result, we frequently hear students helping others on different projects using what they’ve learned. It’s just what we want; thinking visibly becomes second nature.

Friday, March 3, 2017

Make Your Mission Matter: From Vision To Values - NAIS 2017

Source: NAIS

The National Association Of Independent Schools (NAIS) 2017 Annual Conference just wrapped up in Baltimore, Maryland. The two days of sessions, speakers, and confabs all highlighted the evolving roles of schools and school leaders within the ever-competitive learning landscape.

We want to express our sincere thanks to the room full of educators who came to our Friday session, “Where Learning Meets Design: Taking Control Of The Visual Classroom.” The questions and ideas made for a terrific conversation about graphicacy and the importance of visual proficiency in both a student’s and a teacher’s toolkit.

Source: ASIDE 2017

All of the links, resources, and videos from our workshop are posted on our “Visual Classroom” website. The PowerPoint from our presentation is also now live on the page. If you happen to take a look at the slides and graphics, please feel free to get in touch with your feedback and additions.

We also appreciate the enormous encouragement from our school’s Headmaster and Director of Communications in supporting our trip. It was a real treat as well to see our former head from 15 years ago pop into the back of the session room.

Source: ASIDE 2017

The highlight of this year's conference was without a doubt the lively and thought-provoking talk by Sir Ken Robinson. With characteristic wit and insight, Robinson reminded us that children are learning organisms. They love the internalization of language and ideas, but they don’t always love “education.” This is because the nation's school systems operate on efficiency, not talent. They prioritize shared cultural knowledge, rather than the inner yearning for discovery.

Source: NAIS
Other speakers included Susan Cain and her ruminations about the power of introverts to change the world, as well as intriguing sessions that focused on data-driven assessments and alumni engagement. The most fun, however, came from the accidental hallway encounters with long-time friends and colleagues from across the country. These sorts of run-ins are what make this gathering so meaningful.

Obviously, we didn’t make it out of Baltimore without sampling some crab cakes. We recommend The Oceanaire for their super-fresh, super-local seafood. Also, BricknFire Pizza Co. in the Baltimore Marriott Inner Harbor makes the best caramelized onion and mushroom pizza we’ve ever had.

Thanks to all of the NAIS organizers for staging such a smooth conference. And if you weren’t able to attend this year’s symposium, follow the #NAISAC tag on Twitter for great on-sight reporting and resources.

Sunday, February 12, 2017

Teaching Social Literacy Through Communication Design

Source: TED
As middle school advisors, we constantly deal with the trials and tribulations resulting from miscommunication. One thing we try to convey to the middle school mind is that in order to fully understand a message, they need to recognize that key factors play into how information is received.

The relationship between communication and interaction goes hand in hand with perception. The more we can develop their acuity in reading verbal and written cues, the more we can decrease the problems of misreading messages. Without a doubt, our job becomes increasingly more difficult due to electronic media pushing response times to lightning speed.

Since communication is central to design and relies heavily on how media connects with people, it stands to reason that we need to help our students identify where things can get misconstrued. We see it as “social literacy.” Like other literacies, they need to learn the skills in how to respond in order to avoid any misinterpretations that might arise.

While it isn’t always easy, we found that using the video entitled "How To Recognize Misinformation" with our advisees helps. It promotes healthy discussions as well as practical techniques for students to role-play.


The animation visually communicates how people get the wrong idea by failing to recognize their own personal responses to gestures, tone, and body language. These missed social cues can lead to confusion, animosity, and uncertainty.

We often tell students to use their words to explain their feelings, but if we don’t give them the skills to understand perceptual misunderstandings, our advice falls on deaf ears.

For this reason, the four key skills for good communication provide a great place to start.


If we can reinforce these skills with continued practice with our learners, as well as model them as adults, we can come to a common understanding of what we mean together.

Design is communication. If we dissect the word, it is after all “de + SIGN” and is the backbone of logos, icons, brands, media, and more.

Wednesday, August 3, 2016

Designing The Iconic Flame - A Visual History Of The Olympic Torch

Source: Rio 2016

Design is the marriage of message and motif. It is the intersection of identity and icon. In crafting a logo or a slogan or a character, the end symbol is the summation of both the shape and the story.

That’s why the images of the Olympic Games have reached such exalted status. The five rings are a beacon of continental unity. The posters and medals and mascots have linked arms through the years to provide an intriguing portrait of episodic design trends and nationalistic pride.

Source: Rio 2016

Looking back at the summer and winter Games, we have offered reviews of: 

The Olympic torch is an often-overlooked aspect of sports history. Many viewers might remember the televised cauldron lightings, but few can recall the specifics of each particular torch style. This is a shame, because the Rio 2016 cresset is a testament to careful design and deeply embedded meaning.


The Rio torch, as always, represents “peace, unity, and friendship.” This particular beacon, however, features many other subtle elements to personify the flair and landscape of Brazil. For example, this torch is the first to extend and grow. From the official Olympics site:

Source: Rio 2016
The hues and textures of the expanded torch pay tribute to the gold Brazilian sun, the green mountain curves, the blue ocean ripples, and the grounded Copacabana promenade. The winning design from Chelles & Hayashi was chosen unanimously from 76 nationwide submissions. Additionally, “each torch – crafted from recycled aluminum and resin with a satin finish – weighs between 1kg and 1.5kg and stands 63.5cm high when contracted and 69cm when expanded.”

For a look back at past Olympic torches, this wiki outlines a complete list of manufacturers and designers. For a visual gallery, the Olympic site includes icons going back to the 1936 Berlin Games.

Personally, our historic favorites are the art deco Innsbruck 1976, the knifed Sydney 2000, and this year’s evocative Rio 2016:

Source: Olympic.org

Our least favorites are the spatulaed Montreal 1976, the cucumbered Albertville 1992, and the twizzlered Sochi 2014

Source: Olympic.org

For other ideas about teaching with the Olympics, we recommend:

Monday, April 4, 2016

Why Design Matters For Educators And Learners

Source: ASIDE 2016
We just finished attending the New York College Learning Skills Association (NYCLSA) Symposium in Saratoga. We met impressive educators who shared their expertise and resources, and we presented “Design Gives Context To Content To Engage Learners.” The following is an excerpt of why we feel so passionate about this topic.

The harmony between form and function not only applies to design, but it also relates to the synergy between educator and learner. It supports both. Good design of information guides the attention of our students, creating a relationship between context and content. It allows for engagement without distraction.

Design Matters, because it can:

  • Steer the eye of the viewer
  • Remove the noise and congestion
  • Separate ideas into succinct areas
  • Create a consistency across materials
  • Align information for clarity
  • Establish a hierarchy of content
  • Make information easier to navigate

Design plays an integral part in the skills of graphicacy, visual literacy, and visual thinking. If companies spend billions of dollars on advertising to grab our attention, it would make sense for educators to think about information design as well. With the growing industry of online learning, how we incorporate visual information makes a difference not only in the way a student engages with the content, but also how he or she comprehends the information over the long run.

Source: ASIDE 2016
Attention, comprehension, and retention, or “ARC,” are inextricably linked when the visual information is included in the overall design of content. It’s why people and kids remember commercial, jingles, logos, and brands. The connection increases engagement with the material, making it memorable. The more we incorporate these aspects into our teacher toolkit, as well as in the options that students have to deliver content, the deeper the link to the material.

Source: ASIDE 2016


Design can influence the perception of information, the visual communication, and the engagement with text. It enables learners to make associations, and it provides opportunities for greater understanding.

Monday, March 28, 2016

Good Interactive Design Taps Into Student Engagement

Source: Inequality Is
It goes without saying that in the world of our students today static doesn’t cut it. We get it, and we’ve abandoned many old PowerPoints, moved away from textbooks, and discarded our opus of worksheets. That’s why we are constantly on the prowl to find resources to help make learning participatory. When content is combined with good design, it provides a context for stronger understanding; when the design of information is interactive, it prompts students to engage with the material in a physical way.

Each of the interactive infographics below offer students active ways to connect with content. Each one is designed slightly differently, but they all hook users into wanting to know more.

Inequality Is

In this interactive infographic about income inequality, the audience is made to feel that the issue is “personal,” and it’s hard not to stay engaged when the user is told how much they will earn based on gender, age, education, and ethnicity. It also allows for custom comparisons that instantly adjust on the screen.  Check out the video under the “created” link, adjust income distribution under "real," or head over to “fixable” for some possible solutions to the issue. Inequality Is is an eye-opening way for students see the correlation between education and personal income.

Source: Inequality Is

Evolution Of Insight

This interactive infographic tells the story of market research using a timeline to navigate from 1890 to today. As participants travel through the decades, they learn how the growth of consumer research began from the early development of public opinion polls and focus groups to the age of big data today. It provides just enough useful bits of information for students to grasp the history of media and marketing. Evolution of Insight is a good resource for media literacy lessons, or in discussions on the ethical uses of gathering data.

Source: Evolution Of Insight

115 Years Of American Homes

This interactive is designed as if the user is taking a road trip looking at homes across the decades. In this case, the design is conducive to the timeline of travel, and with each new era the car transforms to adjust to the style of the decade. There are also interesting tidbits of information regarding fashion, home furnishing, and more as the user travels through time. Use this website in social studies classes to make historical comparisons between then and now, or perhaps even to predict what’s next.

Source: 115 Years Of American Homes

Designing content to be interactive elevates the participatory part of what modern learners want. The more active they are in the pursuit, the more likely the content will stick.

For other resources please visit The Benefits Of Good Design.

Thursday, August 6, 2015

The Real Republican Debate - Students Rate The Candidates' Logos To Learn Visual Civics

Source: Official Campaign Websites

The first official debate of the 2016 presidential primary season kicks off today. The Fox News Channel has invited 10 of the 17 declared Republicans candidates to a highly anticipated primetime wrangle (relegating the other seven prospects to a second-tier warm-up act). The 9:00 p.m. (EST) showcase is sure to draw an outsized number of eyeballs, due to the impressive roster of accomplished candidates and the say-anything bullhorn of a certain golden-haired tycoon.

As teachers, to introduce students to the primary process, we like to begin with each candidate's logo. These symbols are the forward-facing emblems that emblazon every t-shirt and bumper sticker and that encapsulate the character of the next leader of the free world.

Many media outlets have submitted their verdicts on various designs, but students (and everyday Americans) often have different reactions from professional graphic artists. For example, kids often accurately pick the winners based solely on the appeal of their candidate crests:
Fortunately, many presidential hopefuls did announce their campaigns before the end of the school year. With each new entrant, therefore, we first showed his or her official logo to the students, with no context or explanation, to gauge their reaction to the icon's visual appeal and brand message. The results were unexpected.

In order of Fox News ranking (based on a selective use of national polls), but not in order of winning insignia, here are the best and worst of tonight's field:

Source: Donald J. Trump for President, Inc.

Real estate mogul Donald Trump's poster is certainly plain. In fact, there is little logo or design to speak of. Instead, his banner features clearly spaced, sans serif white lettering across a royal blue backdrop, with a thin border of lines and stars. Even without any graphic appeal, the placard is still ideal for Trump's mission. Arguably the best known candidate in the GOP, Trump and his moniker are already plastered across an array of airplanes, hotels, buses, and TV shows. To mess with a well-established brand would be foolish. Even the overly simplistic, exclamatory subtitle, "Make America Great Again!", is perfect Trumpian bombast and vaguery.

Source: Jeb 2016, Inc.

As the establishment favorite, former Florida Governor John Ellis "Jeb" Bush has charted a safe middle course toward the nomination. His unadorned, uninspiring logo is a testament to this risk-adverse strategy. The cherry red "Jeb!" does ring clearly across a range of posters and t-shirts. The use of only his first name also speaks to his national identity and his desire to separate himself from the potential negativity of his last name, just like Hillary, Newt, and others before him. The cartoonish, ridiculously emphatic exclamation point, however, detracts from any serious branding opportunity. With no genuine icon or subtitle, the only element that draws the viewer's attention is the election year, which might seem unnecessary, save for the fact that Bush is recycling the exact design from his prior gubernatorial runs.

Source: Scott Walker Inc

Wisconsin Governor Scott Walker is well known in the Midwest for his conservative stance against labor unions. He is just beginning, though, to introduce himself to a national audience. Walker often trumpets his everyman appeal, such as in shopping at Kohl's and not graduating from college. His campaign logo echoes this simplicity (even though his typeface is a dark Yale blue). The nicely registered kerning and leading give clarity to the banner (which is often paired with a "For America" subtitle). The attempt at symbolism, however, with the American flag "E" fails on multiple levels. The oversized blue corner and the randomly chosen three red bars warp the iconic Stars and Stripes to a distracting degree. Also, as the media immediately noticed, his device seems plagiarized directly from the trademark of America's Best Contacts & Eyeglasses

Source: Huckabee for President

Former Arkansas Governor Mick Huckabee's current logo is an improvement on his 2008 design. Huckabee's team obviously spent time crafting this upgraded image. The soft Tufts blue background allows his snow white last name to stand out above a red and white vector of lines that invoke Amtrak or the Bank of America. The viewer's eye, however, is drawn to the minor eruption of gold stars in the middle. This is an unnecessary distraction for such an insignificant embellishment. Also, the surtitle refers smartly to Huckabee's hometown of Hope, Arkansas, but it generates confusion about the precise meaning of the quasi-religious "higher ground" reference.

Source: Carson America, Inc.

Retired neurosurgeon Ben Carson began his campaign with the logo above, but it's no wonder he's recently drifted toward a newer banner (which does have its own unique problems). The "Carson America" slogan is clumsy and perplexing in its smooshing together of two unrelated nouns. Unless his team was aiming for a Captain America reference, or trying to remind viewers about where they live, this jarring phrasing is off-putting in its agrammatical asynchrony. Additionally, the gold color has only successfully been employed by John McCain in 2008 with his military background. Finally, the action of the capital "A," with its miniature eagle head, its diagonal of tiny stars, and its curlycue of flag ribbons, offers too much business within too compact a space.

Source: Cruz For President

Texas Senator Ted Cruz opts for a muted tone in stenciling his name and year (and sometimes the prolix tagline, “Courageous Conservatives - Reigniting the Promise of America”). This unconventional yet dull choice of gray puts all of the lopsided emphasis on the red, white, and blue flame on the left. Cruz walks a road previously trod by Herman Cain, who similarly relied on an ill-chosen torch icon. Instead of invoking the light of liberty, fire imagery tends to kindle medieval or destructive, rather than uplifting, feelings.

Source: Marco Rubio For President

Florida Senator Marco Rubio aims to create a contrast between his youthful, next-generational appeal and his more senior Republican (and possibly Democratic) opponents. To this end, Rubio's logo is superb. The casual, novel lowercase of his first and last name partners nicely with the contemporary ITC Avant Garde DemiBold typeface. The all-caps etching of his slogan, "A New American Century," is crisp in its reminder of his age (44) and outlook. The only misstep (albeit nice attempt) is the diminutive map of the United States perched daintily over the "i" in his last name. It seems like his team felt obliged to include some sort of Americana in the design. But the wee nature of this teeny nation comes across as reductive rather than celebratory.

Source: Rand Paul For President

Much like Bush, Kentucky Senator Rand Paul includes only on his first name in his mock up, presumably to distinguish himself from his father, Ron, who ran for president in 1988, 2008, and 2012. The problem is that the younger Paul does not enjoy the name recognition of Jeb or Hillary, so this graphic might as well be linked to the Rand Corporation. Also, the nearly-black, bold italics and the alarming red blaze on the top are more alarming than patriotic, more disconcerting than inspiring.

Source: Chris Christie for President, Inc.

In his logo, New Jersey Governor Chris Christie mimics Huckabee's pairing of a bold last name with a thin electoral year. Without the other uniting elements, however, such as a background shade or a fluid shape, this rendition feels off-kilter. Christie's banner puts all of its emphasis on the stretched subtitle, "Telling It Like It Is." While this slogan effectively evokes Christie's predilection for direct talk (or rudeness), it also reinforces Christie's reputation for self-centeredness. A better design would have crafted a message about America or its people, along with an inventive icon to adorn buttons.

Source: Kasich For America

Ohio Governor John Kasich is one of the most recent entrants into the Republican race, so perhaps we can charitably excuse the rushed misfortune of his logo. The absence of any message or slogan or election year puts all of the attention on the rose red kite flying over his last name. Surely the redundant "K" (much like Clinton's "H") could have been incorporated creatively into the flow of his name, without the overlong wavy lines that imitate Zener cards. Instead, Kasich's initial comes across like Jon Huntsman's "H," a floating letter in search of meaning.

Stay tuned for a logo analysis of the other seven Republican campaigns, as well as the Democratic challengers not named Hillary.

Monday, June 29, 2015

Visual Civics: Designing A Candidacy - Hillary Clinton

Source: Hillary For America

More ink has been spilt over Hillary Clinton’s campaign logo than on all of the other candidates' emblems combined. Much of the commentary has come from exasperated Democrats, who are gnashing their teeth and throwing up their hands at the inexplicably chunky symbol that Clinton’s team devised. Twitter went gonzo over the medieval, early-1980s graphic. A "@HillaryLogo" parody account quickly sprung up from the folks at Cold Spark Media to lob satirical grenades about the motif's perceived inelegance. Other outlets were cautiously more complimentary, while still pointing out the stiffness of the overall archetype.

All of this attention and consternation, however, actually proved the genius of Clinton's design. In politics, all press is good press. In branding, recognizability is the raison d’être. The laser-focused media spotlight meant that in an unbelievably short time, a vast viewing public got a good look at the former Secretary of State's presidential campaign. The accusations of over-simplicity were in fact its brilliance. Like the iconic 2008 rising-sun “O” of then-candidate Barack Obama, this instantly recognizable “H” gave Clinton an immediate leg up on any other team’s marketing efforts.

Source: Hillary For America; Mark Kingsley, UnderConsideration

The Clinton logo features a lust red arrow pointing rightward atop a sans-serif, palatinate blue "H." Designed by Michael Bierut of Pentagram, the sharp, block arrow and the single, spartan letter together recall the simplest of auto-shapes in Microsoft Word. The badge has been compared to everything from the FedEx logo to the "Hospital" sign to the Cuban flag.

For several years now, we have used the concepts of logos and branding in our classes to teach visual civics. As avid consumers of visual media, our students become engaged with social studies and political science through the dynamic interactions of advertising, bumper stickers, and presidential insignia. In the last election cycle, we invited kids to rate presidential logos on each banner's ability to communicate candidate values and campaign themes. When our middle schoolers checked out Clinton's 2016 design, they immediately grasped its message of forward progress. They also astutely pointed out that with Clinton's widespread name recognition, she needed little more than an "H" to connect with voters.


The greatest asset of Clinton's icon is its flexibility. It can be easily modified to adorn any type of placard or attire. It can be quickly customized to suit any constituency. The campaign has already incorporated a variety of incarnations in its mailings, tweets, and policy proposals. If fact, a quick search of "Hillary logo" in Google Images reveals the impressive malleability of Clinton's crest (albeit in some not-safe-for-work incarnations).

The surest signs of a symbol's effectiveness are its subsequent imitations and derivations. Graphic designer Rick Wolff, for example, created an entire tongue-in-cheek alphabet in a new #Hillvetica font. Other designers immediately started redrafting the "H" logo into more contemporary styles (here and here). Political cartoonists had a field day incorporating the block arrow into their Clinton commentaries.

Source: Rick Wolff

If the purpose of a logo is to establish a relationship between the product and the consumer, then Clinton's brand succeeds in spades. Its almost instantaneous market saturation proves its potency. Whether this identifiability leads to an electoral college victory, however, is unknown. But for now, the other campaigns are playing catch-up in the logo department.

For further ideas about using visual civics in the classroom, check out:

Thursday, May 7, 2015

The Benefits Of Good Design - Resources For Community College Learners

Source: ASIDE 2015

Community college students everyday interact with a range of materials: handouts, worksheets, outlines, templates, PowerPoints, etc. From the simplest to the most complex, these resources are sometimes the primary conduits for information and training. The design of these materials, therefore, matters. The visual presentation of instructional tools can make the difference between detachment and engagement, between reticence and retention.

One of the touchstones of the design world is the unity of form and function. This “big picture / small picture” harmony is an equally crucial lesson for teachers and learners of all ages. Whereas art is something we look at, design is something we use everyday. It gives context to content and supports the relationship between the two. Good design of information delivers content that is engaging to the eye without becoming a distraction. It guides the attention through carefully controlled and selected visual components; it retreats to the background, enabling the purpose of the finished product to come forward.

Source: ASIDE, Tommy McCall

In creating both tangible and digital presentations for college learners, educators can ask themselves about the desired purpose, audience, and format of their materials. Similarly, considerations of layout, font, color, and alignment can make positive differences in conveying crucial concepts. A few notions to keep in mind include:
  • Visual media bombard the modern eye
  • Images increase the level of engagement and retention
  • Design creates meaning and relationships
  • The eye reads many types of "texts"
  • Simple tools and techniques can aid understanding
  • Emphasis, typography, hue, layout, and balance are key
Source: ASIDE 2015

We recently had the privilege of discussing these ideas with the faculty of the Department Of Reading And Basic Education at Nassau Community College (NCC) in New York. It was a pleasure speaking to them for their spring professional development. Our session was entitled, "The Benefits Of Good Design: Simple Strategies For Creating Elegant and Effective Materials To Engage Students." All of the slides, links, and resources from our presentation can be found here.

Many thanks to the warm and welcoming educators at NCC for inviting us and for being such gracious hosts. It was a pleasure sharing ideas and exploring the potential of visuals to make a difference in the lives of learners. We look forward to staying in touch and continuing the dialogue about design!

Tuesday, September 9, 2014

The Centaur - How Collaborative Edtech Is Building A Brawny Hybrid Beast

Source: Smarter Than You Think
Gnawing at the edtech underbelly is the unshakable worry that today's digital stampede may not be helping the herd. It is unquestionable that apps and devices are changing education. But the question remains: Are they genuinely building better students, sharper thinkers, and smarter learners? Or is the edtech "revolution" an example of change-for-change's-sake, when newfangled glitz replaces traditional tools that worked just fine?

Clive Thompson makes the compelling case in his book, Smarter Thank You Think (Penguin Press, 2013), that technology is indeed transformational for the good of humankind. Thompson posits that the evolving hybrid of mind and machine is generating a new species. This potent beast is greater than the sum of its parts, strong and nimble in combining the best of the human brain and the efficiency of computational thinking. Thompson calls this new cognitive animal "the centaur."

Source: Padlet
The metaphor of the centaur is perhaps more approachable for classroom teachers than the tiered SAMR model or the complicated Periodic Table Of The Internet. The daily marriage of student ingenuity and digital possibility can spawn a creation that would have been impossible before the advent of 1:1 technology.

Source: Padlet

One of the clearest examples of higher-level, centaurian potential is Padlet. This Web 3.0 resource combines an interactive, collaborative doc with a customizable, embeddable canvas to offer students avenues for publishing and sharing that were unimaginable only a few years ago. Formerly known as Wallwisher, Padlet underwent a winning redesign to enhance its flexibility and usability.

Source: Padlet

Padlet allows learners anywhere to share ideas on a cooperative whiteboard. The design options offer a host of backgrounds and icons, and each url can be personalized to suit the class. Best of all, the "smart" space welcomes any web link and transforms it into a clickable image or video that can be accessed without ever leaving the Padlet world.

Source: Padlet

Padlet accepts all embed codes, so third-party media and flipped videos are easily extended to students. Furthermore, it permits learners to broadcast their projects, posted online for peers to appreciate and internalize.

Ultimately, Padlet is a daily tool. Kids can ask questions anonymously. They can post homework responses. They can share links to current events. They can document notes from the day's lecture. They can elevate their regular thought processes to a fusion of technology and partnership, in which the new mutant creature is more beneficial and compelling than the pre-digital brute.

For other resources, please see:

Monday, August 11, 2014

Visual Civics - Designing A Candidacy

Source: ASIDE, 2014
In the past 20 years, the study of civics has taken a backseat to the more elementary "social studies" and the more secondary "government." Civics, however, embodies a richer appreciation of the structures and services of American political life. In other words, civics is the marriage of a democracy's fundamental frameworks with its citizens' essential responsibilities in a free society.

The teaching of civics is often centered in the careful examination of primary documents. Today's learners, however, increasingly thrive in a visual world, where all of their educational inputs arrive via media and technology. The traditional pictures of civics, though, rely on linear flowcharts of the three branches or static portraits of the vice presidents.

To update civics education for contemporary learners, we try to blend media literacy with election politics, to communicate the power of logos, advertisements, and videos in marketing national candidates. The nuanced ability to decode shades of meaning in fonts and posters lies in the key literacy of graphicacy. It also reinforces the practice of pedagoptics, which is a method of teaching with visual tools. Click here to check out some lesson ideas for using election logos in the classroom.

The upcoming 2014 midterm elections in November feature prime opportunities to bring visual civics into the classroom. A perfect case study is the current dead heat between Mitch McConnell and Alison Lundergan Grimes in the Kentucky Senate race. This closely watched, richly funded contest features all of the binary contrasts that make politics riveting: old vs. young, male vs. female, insider vs. outsider, leader vs. rookie.


Source: McConnell Senate Committee '14

Incumbent Republican Senate Minority Leader Mitch McConnell is an institution in Kentucky, which explains why he has almost universal name recognition in the state but also dangerously low approval ratings thanks to Congress' massive unpopularity. McConnell's campaign logo is designed to present a casual, even youthful image in order to combat the perceived myopia of the 72-year-old's three decades in the Senate. The slogan of "Team Mitch" invokes an informal club, a chummy loyalty among like-minded voters. McConnell also falls back on the time-honored gambit of using only one's first name, like the historic "I Like Ike" and the more recent "Rudy," "Hillary," and "Newt."

On a design level, the exacto sans serif font is a little clumsy. The two-tone blue also makes little sense, especially in the word "team" that stretches in an Obama blue. The icon, however, is excellent, rendering the image of the state in a paintbrush swipe of the American flag. At a quick glance, the kilter of the emblem almost appears to be the head of horse. This subtle kinetic signal to Kentucky's thoroughbred heritage is clever and effective. It bodes well for McConnell's no-stone-unturned chances in November.

Source: Alison For Kentucky

Kentucky Democratic Secretary Of State Alison Lundergan Grimes faces exactly the opposite mission in crafting her logo. At 35 years old, she is little known on the national stage, and she must represent strong local bona fides to match McConnell's renown. Her insignia is much more composed than McConnell's, with layers of text, color, and image to offer a range of connotations. The bold white "Alison" aspires to first-name recognition, yet she registers her full name underneath in an overt reference to her famous political father, Jerry Lundergan. Most distinctly, Grimes features both the office of "U.S. Senate" and her campaign website prominently, reinforcing her need for name recognition and multi-source marketing.

Her seal etches a Columbia blue silhouette of the state against a Yale blue background (although Grimes also uses an identical banner with inverted blue-on-white coloring). Her landscape of spring and asparagus hues reminds us of Terry McAuliffe's winning crossover in last year's Virginia governor race. In fact, the blue and green pairing would be peculiar if not for its understated allusion to the "bluegrass" birthright of Kentucky's nickname. Clearly, both campaigns are playing for keeps, leaving nothing up to chance in their winning, contrasting designs.

Check out our other posts about design and education in elections.
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