Dissertation print

Lurking, linking and learning
The effects of using technology as part of a mixed-mode studio
to enable the design process.
A dissertation by
Sharon Zoepke
Submitted in fulfilment of the requirements for the
MTech Degree in Graphic Design
Faculty of Arts and Design
Graphic Design Programme
Durban University of Technology
Supervisor: Maré Peté
Co-Supervisor: Franciléne Greyling
January 2013

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Declaration
All sentences or passages quoted in this dissertation from other people's work have
been specifically acknowledged by clear cross-referencing to author, work and page(s).
Any illustrations which are not the work of the author of this dissertation have been used
with the explicit permission of the originator where possible and are specifically
acknowledged. I understand that failure to do this amounts to plagiarism and will be
considered grounds for failure in this dissertation.
Name: Sharon Zoepke
Signature:
Date: 4 January 2013

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Abstract
As a second year lecturer teaching Graphic Design, a reflective portfolio as part of an
assessors’ training course raised the question, ‘are we using teaching and assessment
methods that encourage students to think?’ Research in the field of design education
confirmed how current assessment methods focus on the making of artefacts as
opposed to the development of problem solving skills. At the same time, an interest in
online learning prompted the use of the internet, an online classroom and technologies
not normally associated with studio-based learning environments, to enable a new way
of working.
The research methodology, design-based research, embraced two concepts: the need
for educational change and the creation of usable knowledge that informed practice. The
study discusses how technologies such as a Blackboard WebCT6 online classroom,
Adobe, Flickr, a blog and email was used to enable the design process in a way that
builds visual vocabulary, develops metacognition, and encourages reflection. Analysis of
a focus group interview and document analysis reports on the students’ experiences
using technology in this regard.
Key words: e-learning, design process, virtual classroom, mixed mode studios, design-
based research.

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Acknowledgements
I would like to thank the following people who have accompanied and supported me:
My husband and children.
Marí Peté, my supervisor and Franciléne Greyling, my co-supervisor.
Mthandeni Zama, for being open to new ideas.
My students, for being willing participants.

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Table of contents
Chapter 1Introducing the enquiry........................................ 1-9
1.1 Background .....................................................................................................2
1.2 Context of study ..............................................................................................3
1.3 Motivation for the study ..................................................................................4
1.4 Goals of the study ...........................................................................................6
1.5 The research problem and questions ...........................................................7
1.6 The scope of the project .................................................................................8
1.7 The structure of the dissertation ...................................................................8
Chapter 2 Literature review ....................................................10-56
2.1 Clarification of what constitutes the design process ................................11
2.1.1 History of the design process .....................................................12
2.1.2 Models of design process ...........................................................13
2.1.3 Design process or way of working and education ...................15
2.1.4 Designerly thinking or design thinking ......................................17
2.1.5 Summary .......................................................................................20
2.2 The design of an effective e-learning environment .....................................21
2.2.1 Design considerations and a successful
e-learning environment ..........................................................................22
2.3 Student engagement .......................................................................................24
2.3.1 What is student engagement? ......................................................25
2.3.2 Factors affecting engagement ......................................................26
2.3.3 Engagement and the use of technology ......................................27
2.3.4 Creative environments and motivation ........................................27
2.3.5 Summary .........................................................................................30
2.4 Learning theory and e-learning .....................................................................30
2.4.1 Behaviourism .................................................................................31
2.4.2 Cognitivism .....................................................................................32

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Memory ..........................................................................................33
Perception .....................................................................................34
2.4.3 Constructivism ....................................................................................35
The idea of a learning community .................................................36
Constructivism and collaboration ...................................................38
Constructivism and learner-centered environments ......................40
Constructivism and assessment ....................................................40
Constructivism and meta-cognition ...............................................43
Constructivism and learning styles ................................................45
Constructivism and information resources ....................................46
2.4.4Summary ..............................................................................................47
2.5 Experiential design and e-learning ..............................................................48
2.5.1 Writing for the Web, or web-enabled materials ................................49
2.5.2 Type and technology ..........................................................................50
2.5.3 New browser windows .......................................................................51
2.5.4 Internet conventions............................................................................52
2.5.5 Hyperlinks ............................................................................................53
2.5.6 Interactivity versus interaction ..........................................................53
2.5.7 Noise ....................................................................................................54
2.5.8 Scrolling and attention........................................................................54
2.5.9 Images and diagrams .........................................................................55
2.6.10 Colour .................................................................................................55
2.6 Conclusion........................................................................................................55
Chapter 3 Research methodology .............................................. 57-79
3.1 Data Collection ................................................................................................58
3.1.1 Data collection planning matrix ..........................................................59
3.1.2 Data collection measuring instrument ...............................................61
Motivation for choosing focus groups ..............................................61
Sample group and participants ........................................................62

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Ethics ...............................................................................................62
Setting up the focus group ...............................................................63
3.1.3 Data analysis ........................................................................................66
3.2 Research methodology. ..................................................................................67
3.2.1 Awareness of appropriate methodologies ..........................................67
3.2.2 Design-based research ..........................................................................68
3.2.3 Challenges of design-based research .................................................71
Variables ..........................................................................................71
Context .............................................................................................72
Validity and reliability .......................................................................73
3.3 Assumptions ...................................................................................................74
3.4 Research design .............................................................................................75
3.4.1 Phase one: Preparing for the experiment ............................................75
The instructional starting point .........................................................76
The instructional end-point ...............................................................78
3.4.2 Phase two: The design experiment ......................................................78
3.4.3 Phase three: Retrospective analysis ....................................................79
Chapter 4 Design presentation and analysis......................... 80- 137
4.1 Introduction .....................................................................................................81
4.2 Design of the learning intervention based on goals ....................................82
4.2.1 Goal: clarify characteristics of the design process relevant to the
creation of an artefact in graphic design ........................................................84
4.2.2 Goal: explore the distinctive nature of successful e-learning
environments and formulate a model for use in my classroom that
enables the design process ...........................................................................85
4.2.3 Goal: design, develop and implement e-learning, as part of a
mixed-mode studio environment, which enables the design process ............86

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4.2.3.1 Gluebook - an external blog ......................................................86
Goals and element of design ...........................................................86
Settings where implemented.............................................................87
Description of phases .......................................................................87
Outcomes and lessons learnt ...........................................................87
4.2.3.2 Flickr .........................................................................................91
Outcomes and lessons learnt...........................................................93
4.2.3.3 The Blackboard WebCT6 online classroom .............................94
The Blackboard VLE homepage .....................................................95
Media library tool ..............................................................................98
Learning modules tool.......................................................................100
Web links tool ...................................................................................100
Discussion tool .................................................................................101
The assessment tool .......................................................................104
4.2.3.4 ‘The Designer’s Cookbook’ .......................................................109
4.2.3.5 The use of Adobe Portable Document Format (pdf)..................114
4.2.3.6 Integration of technologies used into a potential work flow ......118
4.2.4 Goal: analyse and report on the students’ experience of e-learning as
part of the mixed-mode studio environment ......................................................121
Community of practice or creative ecosystem .................................121
Assessment .....................................................................................125
Learning style ...................................................................................129
Meta-cognition .................................................................................132
Student centred environment ...........................................................135

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Chapter 5 Conclusion ........................................................... 137-140
5.1 Background .....................................................................................................138
5.2 A bird’s eye view .............................................................................................138
5.3 New perspectives ............................................................................................139
5.4 What I have learned ........................................................................................139
5.5 Challenges .......................................................................................................140
5.6 Contributions to knowledge in the field ........................................................140

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List of tables
Table 1: Environmental factors affecting intrinsic motivation ...............................................29
Table 2: Electronic versus face-to-face feedback: advantages and disadvantages ............43
Table 3: Meta-cognitive process adapted for e-learning .....................................................45
Table 4: Characteristics of qualitative research ...................................................................59
Table 5: Data collection planning matrix based on Greyling (2007) ....................................60
Table 6: Interview guideline for focus group ........................................................................65
Table 7: Comparison of fundamental characteristics of action research and
design based research .........................................................................................................68
Table 8: Graphic interpretation of preparing for the experiment ..........................................76
Table 9: A summary of the consequences of earlier instructional practice,
as influence on my instructional starting point: focus on understanding consequences
of earlier instruction ..............................................................................................................77
Table 10: A summary of historical, tradition and assessment practices as influence
on my instructional starting point: influenced by history, tradition and
assessment practices ...........................................................................................................78
Table 11: Analysis of focus group transcripts: Category: Community of practice or
creative ecosystem ..............................................................................................................122
Table 12: Analysis of focus group transcripts: Category: Assessment................................126
Table 13: Analysis of focus group transcripts: Category: Learning style .............................129
Table 14: Analysis of focus group transcripts: Category: Meta-cognition ............................133
Table 15: Analysis of focus group transcript represented as a bar chart:
Category: Learner-centred environment ..............................................................................136

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List of figures
Figure 1: Graphic design problem solving model by Luttropp and Greenwald (2009).........14
Figure 2: Seven step model adapted from Burney (2007, 2006) and Brown (2008) ...........19
Figure 3: Knowledge as iceberg (Brown, 2002) ..................................................................39
Figure 4: Example of legible web fonts ...............................................................................51
Figure 5: Screen shot of hyperlink ......................................................................................52
Figure 6: Screen shot of common design patterns or conventions for sign-in boxes ..........52
Figure 7: Graphic interpretation of preparing for the experiment as described by
Gravemeijer and Cobb (2006) ..............................................................................................76
Figure 8: Design process related to summary of themes discussed
in the literature review ..........................................................................................................84
Figure 9: Conjectured design process model.......................................................................85
Figure 10: A graphic interpretation of the conjectured means of supporting the design
process while embracing new technologies .........................................................................86
Figure 11: Blog posts and sidebar features of blog ‘Gluebook’ ...........................................89
Figure 12: Blog posts and sidebar features of blog ‘Gluebook’ ...........................................90
Figure 13: Flickr homepage ...............................................................................................91
Figure 14: Student upload in Flickr with feedback ..............................................................92
Figure 15: Flickr photostream .............................................................................................92
Figure 16: Flickr ‘Work’ set ..................................................................................................92
Figure 17: Contacts page ....................................................................................................94
Figure 18: Screen shot of the online classroom homepage ................................................96
Figure 19: Top bar of with pictures of students creates student presence ..........................97
Figure 20: Web safe colours used in design of classroom ..................................................97
Figure 21: Trebuchet font ....................................................................................................97
Figure 22: Screen shot of the Media Library tool used as a glossary .................................98
Figure 23: Screen shot of assessment task in Learning Modules .......................................100
Figure 24: Brief in Learning Module using the advance organizer to link to online test ......105
Figure 25: Example of a true/false type question in online test ...........................................105
Figure 26: Example of a multiple choice type question in online test ..................................106

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Figure 27: Example of a matching type question in online test ...........................................106
Figure 28: Example of answers to quiz question with feedback .........................................107
Figure 29: A simple example of an interactive crossword puzzle using Eclipse .................107
Figure 30: Screen shot of The Designers Cookbook, Homepage .......................................109
Figure 31: Screen shot of The Designers Cookbook, Contents page .................................110
Figure 32: Shape homepage with screen shots of three hyperlinked pages from
The Designers Cookbook .....................................................................................................111
Figure 33: Phase one: Elements of design homepage .......................................................112
Figure 34: Phase one: Colour homepage and content .......................................................112
Figure 35: Adobe pdf with video link playing inside the document ......................................115
Figure 36: Students using Sticky Note in Adobe pdf, to analyse and reflect on work .........116
Figure 37: Using Sticky Note in Adobe pdf, to provide feedback ........................................117
Figure 38: Using Google Chat to provide live feedback ......................................................118
Figure 39: Potential work flow, integrating the previously discussed technologies
and using the conjectured design process model as reference ...........................................120
Figure 40: Analysis of focus group transcript represented as a bar chart:
Category: Community of practice or creative ecosystem .....................................................124
Category: Assessment .........................................................................................................127
Category: Learning style ......................................................................................................131
Figure 43: Analysis of focus group transcript represented as a bar chart: Category:
Meta-cognition ......................................................................................................................134

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Appendices
Appendix 1: Design process models adapted from Dubbley (2005) and Design Council (2007)
Appendix 2: Characteristics of design-based research (Brown, A. !992; Collins, 1992;
Gravemeijer and Cobb, 2006; Design-based Research Collective, 2003) and compared to
qualitative and quantitative research (Leedy and Ormrod,1989)
Appendix 3: Letter of consent: focus group participants
Appendix 4: Letter of consent: participants
Appendix 5: Blackboard VLE data: blog posts
Appendix 6: Threaded discussion: What I need to think about….
Appendix 7: E-mail correspondence with students
Appendix 8: Private journal entries: reflection on practice
Appendix 9: Transcript of focus group interview
List of terms
Blog – short for weblog. A specific type of website where an individual or a group of
authors adds entries or posts on a regular basis. These entries are displayed in reverse
chronological order, that is, the most recent entries first. Common features of a blogging

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system include easy authoring tools that allow for images, text and video to be included
in the post. A comment facility allows for readers to make public comments on posts.
E-learning - the use of various technological tools that are either Web-based, Web-
distributed or Web-capable.
Flickr – an image hosting and video hosting website and online community.
ICT – Information Communication Technology.
JISC - The Joint Information Systems Committee.
Learning Management System (LMS) - a collection of e-learning tools available
through a shared administrative interface. Blackboard was the LMS used in this study.
Learning object – a digital file that can be re-used in e-learning contexts.
LMS - Learning Management System
Lurking - passive observation as opposed to active contribution in a web environment. For
example, reading messages on an internet discussion forum without posting.
Mixed-mode/blended/resource-based learning - these terms are interchangeable and
describe an approach to education that combines face to face and distance approaches.

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Online learning – describes education that occurs only through the Web. It traditionally refers
to courses offered long distance.
Pedagogy – traditionally understood to refer to instruction, and now used to describe the
application of sound education practice.
VLE – such as Blackboard WebCT6. Used interchangeably with VLE or Virtual Learning
Environment.

Chapter 1
Introducing the enquiry

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1.1 Background
This study arises against a background of concerns and challenges I have
experienced in my capacity as a second year lecturer in the Graphic Design
Department at the Durban University of Technology. My journey began with
an assessors’ training course, which exposed the need to adapt my
assessment methods and approach to teaching and learning. Subsequently,
this understanding evolved into the development of an online classroom and
utilising technology as a means to enable the design process.
The study unpacks the characteristics of the design process and also
discusses how technologies such as a Blackboard WebCT6 online
classroom, Adobe, Flickr, a blog and email was used to build visual
vocabulary, develop meta-cognition, and encourage reflection on practice. In
addition, the analysis of a focus group interview and digital documents reports
on the students’ experiences using technology in this regard.
It is important to note the word ‘design’ is used in multiple ways during the
discussion. The ‘design process’ refers to the steps or procedures normally
associated with the development of an artefact. The ‘design’ of an online
classroom relates to the way the classroom works from an instructional
viewpoint and to the physical look and construction of the content using
appropriate computer software. The reference to ‘design-based research’
refers only to an investigative approach.

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1.2 Context of the study
Trends in education shift over time as societies and the environments they
live in change. Today, emphasis has moved towards the learner becoming
self-sufficient and able to manage learning in a way that enhances the
concept of lifelong learning, and institutions are adopting the concept of a
learner-centred environment. Current international discussions on education
focus on demographic changes, politics, globalisation and importantly,
technology, as factors that are driving educational change (Hernes, 2006;
Prensky, 2001a).
Globalisation results in an erosion of physical boundaries and connectivity
between people in a global village. Technological advancements like the
Internet affect the way knowledge is obtained, disseminated and stored: and
because of this phenomenon, some authors feel that the web is paramount to
learning (Ally, 2004; Brown, 2002; Ehrmann, 2000). According to Prensky,
(2001a:1) this development has given rise to a generation of ‘digital natives’
that Howe and Strauss (2000) refer to as ‘the millenials’ or ‘generation y’. By
way of contrast, Bennett, Maton and Kervin (2008) dispute these claims and
challenge generalisations made about young peoples’ computer use and
skills.
Despite controversy, Wilson and Gerber (2008:29) argue young people today
display a distinguishing set of traits that require pedagogical adaptations to
course structure, assignments and assessment, which suit their preferred
manner of engaging with learning materials and one another. Likewise,

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Greyling (2007) describes another debate surrounding the value of
technology and learning, and establishes that it is no longer a matter of if but
when to adopt technology as a means to facilitate learning.
Applied, technology used to facilitate learning is generally referred to as e-
learning or web-based learning and when inclusive of face-to-face interaction,
as blended or mixed-mode learning. The Draft White Paper on e-education
(Republic of South Africa, 2003:17) defines e-learning as “flexible learning
using information communication technology (ICT) resources, tools and
applications to promote flexible learning environments that promote
interaction, collaboration and connectivity”. In this study, e-learning describes
the use of various technological tools that are either Web-based, Web-
distributed or Web-capable.
The Durban University of Technology Assessment Policy (2005) is in line with
government theory. The policy strives for learner autonomy, where learners
progressively learn to be self-sufficient, self-directed and self-reflective with
minimal intervention by the teacher or lecturer. This policy also proposes that
new learning materials should ‘encourage an eclectic approach, taking into
account a wide range of resources’.
1.3 Motivation for the study
The completion of an assessors’ training course highlighted a deficit in my
knowledge surrounding pedagogy and learning theory. I had a number of
years of practical studio experience, which qualified for employment as a

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lecturer in the Graphic Design Department at the Technikon Natal. Donald
Schön, a philosopher of design and design education, describes a similar
scenario relevant to his experience. Waks (2001:47) describes how Schön’s
teachers had no formal studies in the art of teaching, but “plunged in
spontaneously, guided by their own already formed professional arts”.
My reflection on classroom practice raised questions about my assessment
practices, and revealed how one’s teaching method enabled learning. The
challenges I was experiencing in my classroom at the time related to the
processes students need to participate in before executing their assessment
tasks. Students were reluctant to engage in idea generation and planning, but
focussed on the creation of artefacts. In previous years, departmental industry
liaison meetings repeatedly expressed the same concerns and wish list: ‘Give
us students who can think!’ As a result, more energy was invested in training
students to mind map, brain storm and produce rough visuals.
In his article for the American Institute for Graphic Arts (AIGA), Polite
(2004:online) from the Philadelphia University of the Arts maintains the most
important question in design education revolves around “how to make the
students slow down and think?” Furthermore, he describes how “students
want to rush in and make finished projects”. Barry Jackson (1995) from
Middlesex University raises questions about the quality of student learning
and assessment in design as he describes a typical studio-based learning
environment mirrored in my own practice. Lecturers provide students with
assessment tasks in the form of a brief, which describes a problem, and most
of the student-lecturer interaction takes place in the studio or classroom.

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Souleles (2005) also aims to describe prevailing teaching and learning
methods in studio-based disciplines which include ‘sitting-by-Nellie’ or hand
holding, project-based learning and the ‘final show’ in the form of a
summative portfolio exhibition.
The question I began asking at this time was, “are we using teaching and
assessment methods that encourage students to think?” This also prompted
me to question how we defined ‘thinking’ relevant to the process of design.
Was it merely an activity that prompted good ideas?
Jackson (1995) and Oxman (2001:269) point out that existing teaching and
learning theories exist, but that the application of these concepts to art and
design subjects remains relatively unexplored. Could I use my newly gained
knowledge to create a teaching and assessment strategy that incorporated
these theories? Moreover, could I use the internet, an online classroom and
technology to facilitate this new development?
Answers to these questions were investigated, explored and are discussed in
later chapters as a reflection of my personal journey.
1.4 Goals of the study
The research methodology used in this enquiry was design-based research,
otherwise referred to as a design study. Fundamentally, design-based
research attempts to narrow the chasm between research and educational
practice in a manner that embraces two concepts: the need for educational
change and a desire for understanding (Gravemeijer and Cobb, 2006:45).

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The Design-Based Research Collective (2002:5) elaborates on this notion of
‘understanding’ as the ultimate goal of a design study and “educational
research that strives to create usable knowledge that informs practice and
encourages innovation”.
Related to my own teaching, the goals of my study were to:
a. clarify characteristics of the design process relevant to the creation of
an artefact in graphic design.
b. explore the distinctive nature of successful e-learning environments
and formulate a model for use in my own classroom that enables the
design process.
c. design, develop and implement e-learning, as part of a mixed-mode
studio environment, which enables the design process.
d. analyse and report on the students’ experiences of e-learning as part
of the mixed-mode studio environment to inform improvements.
1.5 The research problem and questions
My research problem addressed the following:
‘The effects of using an e-learning environment as part of a mixed-mode
studio to enable the design process’.
The overall aim of this research was to explore the use of technology as a
tool which enables the design process. By questioning whether this was
possible, the study asked the following questions:

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• What aspects of the design process can be facilitated using e-
learning?
• What factors should be considered when designing a successful e-
learning environment?
1.6 The scope of the project
This project consisted of two components, judged as a whole. The first
component was the development of an e-learning intervention to enable the
design process. The second component was a dissertation which describes
the design, development and implementation of the e-learning intervention
and reports and the students’ experiences.
1.7 The structure of the dissertation
The dissertation comprises the following chapters:
Chapter 1:
Chapter 2: Literature review
This chapter compares and contrasts ideas and theories relevant to the
study and provides a lens through which the problem will be
investigated. It is divided into two distinct sections.
Firstly, I clarify what constitutes the design process in a studio-based
learning environment such as graphic design. Secondly, I explore the
idea that, when designing an effective e-learning environment which

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enables the design process, pedagogy, learning theory and experiential
design is considered.
Chapter 3: Research methodology
This chapter describes the methodology used in my research study, its
characteristics and why this method was chosen. It also provides an
overview of the participants, ethics and data collection methods and
instruments. The research design describes the phases of the
experiment, which led to the development of a conjectured design
process used as the instructional starting point for the technology based
intervention.
Chapter 4: Data presentation and analysis
This chapter reports on the design experiment based on the goals of the
study. The conjectured design process model upon which the design of
the second year e-learning environment was based is explained, and
technologies supporting the implementation of the model described.
The data collection measuring tool, in the form of a focus group, is
analysed and findings are reported.
Chapter 5: Conclusion and recommendations
The final chapter gives a bird’s eye view of the study, and describes the
challenges I have experienced and what I have learned.

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Chapter 2
Literature Review
This section reviews empirical findings relative to the overall aim of my study,
namely to explore the use of technology as a tool which enables the design
process. In sections I explore areas stemming from the questions, relating to
the problem, as described in Chapter one:

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a. The first section clarifies what constitutes the design process relevant
to the creation of an artefact in graphic design. This was necessary in
order to define concepts relevant to the design process and isolate
potential activities manageable using ICT.
I explore the history of design process, design process models and I
introduce design thinking as a possible alternative to the design
process.
b. I explore the idea that, in designing an effective e-learning
environment that enables the design process or a way of working,
pedagogy, learning theory and design aesthetics are considered.
2.1 Clarification of what constitutes the design process
When I examined my own understanding of the design process, I realised it
revolved around idea generation and artefact development. Landa (2006:12),
educator and author of Graphic Design Solutions, confirmed this
understanding and described the design process as ”the motions and
activities a student goes through in order to conceptualise or come up with an
idea or concept” and ”the creative solution to the design problem, the primary
idea behind the piece.” An interview with Raymond Pillay (2010:pers.
Comm., 25 February) from Assagay and Javelin, who also moderates the
Graphic Design department’s third year portfolios, revealed his notion of
design process as something that “begins with the big idea and manifests

12
itself in the product”. He continued by describing thinking and ideas as ”the
same thing”.
The questions I began asking at this stage of my investigation were:
a. Is the design process an activity that focussed on the production of
an artefact?
b. What role did thinking play in the design process? Was it an activity
that focused on producing original ideas?
In order to answers these questions I examined the characteristics of the
design process and tried to contextualise the activities described within a
learning environment.
2.1.1 History of the design process
As a noun, the word ‘design’ means amongst others things, “the act of
creating an artefact, artistic in nature and based on a plan” and the designer
as “the one who created and often executed plans for a project or structure”
(Merriam-Webster Dictionary, 2008).
Historically the concept of ‘design’ and the ‘designer’ developed in the early
1900’s along with the advent of mechanisation. As division of labour
increased productivity, the craftsman or maker separated from the production
plan. The British Design Council (2007a) cited Wedgewood pottery as an
example of how this development resulted in the emergence of the design
process. In the 1920’s the Bauhaus school of architecture and design was
hailed as the first to consider design as a vital part of production. The

13
Bauhaus theory of form follows function described how the pottery as artefact,
dictated the design process in order to ensure quality, consistency and timely
production. The designer, as part of this scenario, emerged as a separate
entity in his or her own right, as a creative thinker.
At the same time, the modernist movement questioned the relationship
between science and design. The desire to produce works of art, based on
objectivity and rationality, led to efforts to ‘scientise’ design and produce
‘design methods’ (Cross, 2001:49). The British Design Council (2007b:5)
describes how, in 1960, Bruce Archer recognised the design process as
being part cognitive, part intuitive. and concluded, the design process was
scientific and attempted to formalise the creative process. What followed was
the mapping of the design process in the form of models, which attempted to
show best practice or a way of working.
2.1.2 Models of design process
Although current academic literature on the subject of design process is
specific and inclusive of architecture (Oxman, 2001), artificial intelligence
(Mostow, 1985), interior/ environmental design (Ozturk and Turkkan, 2006)
and graphic design (Oxman, 2001), these researchers’ motivations were the
same as they attempted to identify a design process model supporting best
practice in studio based environments.
Design process models reflected in Appendix 1 were adapted from Dubbley
(2005) and the British Design Council (2007a). Through the creation of this
table I recognised my application of design process, as a lecturer in graphic

14
design, was similar to Luttrop and Greenwald’s model (in Dubbley, 2005), as
illustrated in Figure 1.
Figure 1: Graphic design problem-solving model by Luttropp and Greenwald (2009)
Define the project Light gray show interaction with client
Dark gray shows design phases
Medium gray shows production phases
Develop budget and schedule
Conduct research
Ideation Thumbnail sketches
Preliminary comps
Presentation and critique
Refinements Final comps
Final presentation Approvals
Production
Distribution
Final project review
In my experience, second year lecturing staff defined the project in the form of
a design brief, and the design phases in the model followed. Presentation
and critiques were conducted on a one-to-one basis or in large groups, with
approval granted by lecturers for print. Academics connected to studio-based
learning environments described a similar educational methodology to my
own, in their own teaching environment (Oxman, 1999; Jackson, 1997; Polite,
2004; Lawson, 1980).
As a lecturer I realised many of the characteristics that featured in other
models were missing in my adopted approach. Archer (British Design
Council, 2007a) speaks of the intuitive and cognitive as well as
communication as part of the design process, while Lawson (1980) mentions
that product and process are two different things. Pugh, Cooper and Souza

15
(Dubbley, 2005; British Design Council, 2007) include iterative phases,
feedback, collaboration, self-assessment and learning.
2.1.3 Design process or way of working and education
Historically, design education methodology can be traced back to the French
design institute, the Ecole des Beaux Arts. This system included the setting of
a design problem as the initiation of the educational process, the studio as the
simulation of the professional environment and the design process as the
studio methodology. Furthermore, the studio master or tutor served as a
guide and critic and intervened in the students designing, while the juror
system was a means of evaluation of the final product (Cuff, 1991).
Schön’s (Cross, 2001) work in educating the reflective practitioner presented
modifications to the positivist, scientific approach to design education. The
first was a shift towards the idea of reflection in practice or in action, as
students learn by thinking about what they are doing through the conscious
application of applied knowledge. Oxman (1999:107) refers to this process as
‘visual reasoning’. A second shift encouraged a participatory interaction
between student and tutor as part of the design process. Many of these
traditional concepts survive as an educational model for studio-based learning
environments today with common features transcending countries and design
domains.
The first common feature of design education is the studio-based learning

16
environment based on the concept of learning by doing (Oxman,1999;
Lawson,1980). Lawson (1980:7) explains students learn how to design by
”doing it rather than by studying it or analysing it”, and argues that this focus
on making results in a failure to reflect on process. Furthermore, he criticises
traditional concepts of the design process, as they describe outcomes in
terms of creating an artefact, and not necessarily a way of working (Lawson
1980).
The second common feature, as proposed by Oxman (1999), is evaluation
based on the outcome or artefact rather than the process of learning. Lawson
(1980:156) adds that the problem with such a system is students “strive
towards solutions which are assessed rather than showing a development in
their methodology” or way of working. He points out, through this type of
assessment, students create work to please the teacher which results in a
passive and surface approach to learning. Hence, Oxman (1999) argues the
learning task in design education needs to shift from the production of
artefacts to a cognitive-based approach which she acknowledges as
designerly thinking or design thinking.
Despite this, it would be foolish to ignore that the outcome of any graphic
design project results in an artefact or product of some nature. Contextually,
this product communicates or visualises ideas using image and text, and in
this regard, it is everywhere:

17
…touching everything we do, everything we see, everything we
buy: we see it on billboards and in Bibles, on taxi receipts and on
websites, on birth certificates and on gift certificates, on the folded
circulars inside jars of aspirin and on the thick pages of children's
chubby board books (Helfand, 2009:online).
In an educational setting, students are required to develop these products in a
manner that becomes a demonstration of what the student has learnt and a
measurement of their ability to think creatively or ”put existing ideas together
in new combinations” (Amabile, 1998:79). By proposing designerly thinking,
Oxman (1999) recognises the need to develop the cognitive aspects of
design that extend beyond the artefact as an expression of creative thinking
and demonstration of what has been learnt.
2.1.4 Designerly thinking or design thinking
In his seminal work on intelligence, Sternberg describes how ‘successful
intelligence’ is a balance between analytical, creative and practical abilities
(Sternberg and Williams, 1996). He explains that analytical thinking requires
evaluation, analysis and comparison, and creative thinking, invention,
discovery and ideation. Practical thinking is tying everything together as
individuals apply what they have learned.
Design thinking as a concept emerged in the 1990’s when Roger Martin
(2007) suggested that the best leaders integrate left brain, analytical thinking
with right brain intuition. Based on Martin’s notion of integrated design, Tim
Brown cemented the principles of design thinking when he created IDEO, a
design consultancy. Although no clear definition of design thinking is available

18
(Brown, 2009) it has core characteristics (Brown, 2009; Burney, 2007;
Burney, 2006):
a. It focuses on how (design process) not what (design artefact).
b. It is a process of designing, regardless of the physical manifestation.
c. It strives to balance (left brain) analytical mastery and (right brain)
intuitive originality.
d. It uses divergent thinking to create choices and convergent thinking
to make choices.
e. It uses analysis to break problems apart and exploit existing
knowledge, and synthesis to put ideas together and create something
new.
David Burney (2007) from Red Hat Communications has developed a seven
step process which he felt served as a common vernacular for design
thinking. The table below has been adapted and illustrated from Burney
(2007, 2006) and Brown (2009).
Figure 2: Seven step model adapted from Burney (2007, 2006) and Brown (2009)
Define understand your problem and user, analyse

19
Research experience, observe, understand,
empathise
Ideate Non-judgmental, divergent thinking,
collaborate, explore
Prototype rapid, synthesise, get feedback, fail, change
Choose converge, review, select, relinquish
ownership
Implement plan, assign, execute, deliver
Learn analyse, discuss, feedback, measure
Although Burney (2007) acknowledges the model appears linear, he stresses
that any stage of the design thinking process could be adopted at any time,
and revisited as often as is necessary. Brown (2008:online) referred to his
model as a “series of spaces” as opposed to a series of steps.
What I understood at this point was the need to stimulate my students in a
way that developed their cognitive, intuitive and practical thinking skills.
Relative to design thinking, my colleagues and I have in the past
acknowledged the development of students’ creative thinking skills as vital.
Pioneers in the field such as de Bono (1970), Osborn (1991), developed
methods that aimed to enhance one’s ability to generate ideas. Some of
these methods were included in the curriculum.
As described in Burneys’ model, at some stage in this creative thinking
process however, it becomes necessary to adopt a convergent approach to
one’s thinking. This involves ‘thinking about your thinking’, making judgments
and translating the connections made during the convergent stage into
practical solutions (Chaffee, 1994). In cognitive psychology this activity is
recognised as critical thinking.

20
Chaffee (1994) confirms Brown’s (2009) belief that creative thinking and
critical thinking work hand in hand, and cannot be separated. He elaborates
by describing creative thinking as the production of innovative ideas, and
critical thinking as making informed decisions about the ideas, which leads to
reflection, clarification and improvement. He also acknowledges that critical
thinking is not one way of thinking, but “an approach to the way we make
sense of the world” (Chaffee, 1994:94).
2.1.5 Summary
The first section of this chapter clarifies what constitutes the design process
relevant to the creation of an artefact in graphic design. This was necessary
in order to define concepts relevant to the design process and isolate
potential activities manageable using e-learning. I acknowledge that at this
point my perception of the design process was narrow but now includes
insight into a complex activity that describes a way of working, inclusive of
creative and critical thinking skills.
Lawson (1980) and Oxman (1999) describe two common features of design
education that transcend countries and design domains. The first is a focus
on artefact as evidence of learning instead of focussing on a way of working.
The second feature is evaluation based on the outcome or artefact instead of
on process of learning, which means students strive towards solutions as
opposed to methodology or way of working.

21
Hence, it is proposed, design thinking or designerly thinking is adopted as a
cognitive approach to design education.
2.2 The design of an effective e-learning environment
Bransford, Brown and Cocking (2003) explain how computer technology was
introduced as an instructional method as early as the 1960’s. I was introduced
to the concept of mixed-mode learning when I attended a Blackboard Virtual
Learning Environment (VLE) course at the Durban University of Technology,
called Pioneers.
Mixed-mode, blended learning or resource-based learning, are inter-
changeable terms describing a pedagogical approach, which includes face-to-
face contact, and content made available through technological means.
Usually this includes e-learning, a term which describes structured materials
or content that is web-based, web-distributed or web-capable (Nichols, 2003;
Republic of South Africa, 2003).
As previously mentioned, in my experience students were reluctant to follow
through on the design process when working towards an artefact. After the
completion of my Assessors Training course I realised that assessing the
design process and rewarding students for their efforts could help improve
their interest in making the design process overt. Departmentally, lecturing
staff are responsible for delivery of materials, monitoring and managing the
project as well as assessment of the work completed. Logistically, monitoring

22
55 odd students’ design process in this way is tedious, and at that stage I was
hoping that a VLE could help manage this. I hadn’t yet considered other
benefits of using ICT.
2.2.1 Design considerations of a successful e-learning environment
The idea of creating a successful learning environment emerged in the 1940’s
as the concept of general education evolved into ”something more than
putting discrete items of knowledge into students’ heads” (Shulman,
2002:online). Benjamin Bloom (1985) pioneered this ideology when he
designed his Taxonomy of Educational Objectives as a system for classifying
desirable types of learning in an educational setting. Schulman (2002:online)
explains how Bloom’s taxonomy was soon adopted as a framework for
designing successful courses and programmes, a heuristic for instructional
design. It evolved into something that described an ideology and a normative
system of education.
Initiatives in higher education today argue for new approaches to designing
learning environments which, Schulman (2002:online) points out, has nothing
to do with a new taxonomy, as “all the likely taxonomies have been invented,
and in nearly infinite variety” Schulman argues for a focus on ‘professional
education’ that requires students to think, perform particular skills, and to
practice and act in ways consistent with the norms, values and conventions of
the profession they are studying.
Linked to the designing of successful learning environments are the principles

23
and methods of instruction or pedagogy. Modern pedagogy has evolved over
time, and today, styles of instruction seek ways to stimulate students and to
develop their independence and initiative as they acquire knowledge. The
advent of technology has resulted in the development of new pedagogies by
influencing what activities are possible, what they might potentially achieve,
and how they are carried out (Robertson, Fluck and Webb, 2004). These
technology types include, for example, the World Wide Web (WWW) using
the Internet, online learning, e-mail plus the use of cell phones and i-pods.
In e-learning circles, there is an ongoing debate whether it is the use of
technology or the design of the instruction that improves learning (Clark,
2001). Firstly, researchers support the notion that technologies do have
learning benefits, but they remain a method of delivery (Ally, 2004; Nichols,
2003; Chickering and Ehrmann, 1996). They suggest it is the instructional
strategies built into the learning materials, and not the medium of instruction
that promotes learning. These authors generally agreed that learning theory
and pedagogical strategy are paramount to the success of e-learning.
Secondly, linked to successful learning in any environment is the concept of
student engagement. The challenges related to student engagement in online
delivery are inclusive of traditional environments, but also present unique
obstacles related to the type of technology used.
Thirdly, the design of an online learning environment, for example, includes
traditional elements of graphic design such as colour, image and text, but the
difference lies in the nature of the environment. Unlike traditional media, it is a

24
literate rather than a visual medium, is time sensitive, interactive rather than
passive, and relies on information architecture in order to organise, classify
and organise content (McGovern, 2001). The debate that rages in this domain
is whether Instructional Design, which focuses on how to structure material
for learning, holds the key to good e-learning environment (Nichols, 2003).
Some authors are of the opinion that instructional designers are more like
engineers (Quinn, 2005:11) and focus on design models that deliver
functional content, but lack the notion of experiential design. Papert (2002)
believes that if we are to engage learners in knowledge building that focuses
on heart and mind as described by Kuh (2003), we needed to create
experiences that are ‘hard fun’.
Based on the above, the following section discusses the nature of a
successful e-learning environment from two perspectives; a) a learning
perspective (pages 24-49) including learning theory, pedagogy and student
engagement, and b) experiential design (pages 49-56) by describing the way
the classroom looks and functions.
2.3 Student engagement
Shulman (2002: online) explains if we follow Bloom’s taxonomy, we begin
with the first category of knowledge, moving towards comprehension,
application, analysis, synthesis and evaluation. Despite adaptations to this
taxonomy by Anderson and Krathwohl (2001) in the 1990’s, ‘remembering’
relative to knowledge remains the first level on the taxonomy.
Shulman’s (2002: online) view on taxonomies is “play with them!”, and in his

25
Table of Learning he places engagement and motivation at the top of his list.
He claims ”knowledge begins with student engagement, which in turn leads to
knowledge and undertanding”.
To this end, I have decided to begin this argument with student engagement.
2.3.1 What is student engagement?
George Kuh, director of Postsecondary Research and Planning at
Bloomington University, hosted the American National Survey of Student
Engagement or NSSE. The main aim of the survey is to provide information
regarding student engagement at higher education institutions, plus
benchmarks for effective educational practice.
Kuh (2003:25) defines engagement in terms of two key components: the first
is the amount of ”time and energy students devote to educationally sound
activities, inside and outside of the classroom”. This links to the students’
willingness to invest in learning. The second component is what institutions
do to create conditions that foster this reaction, and includes the employment
of effective educational practices that encourage students to do so.
The results of the South African Survey of Student Engagement (SASSE)
supports Kuh, and adopted the benchmarks identified by the NSSE, which
link academic performance with student engagement, and describe a ‘student
experience’ which impacts on the likelihood of success (Strydom and Mentz,
2010:9; Dewey in Westbrook, 1999).

26
When discussing engagement theory, some theorists argue the principles of
motivational theory overlap with engagement theory. Russell, Ainley and
Frydenberg (2003) agree engagement and motivation are often treated as the
same thing, but stress the common denominator revolves around behaviour.
They explain, motivation is about ”energy and direction, the reasons for
behaviour or why we do it” (Russell et al, 2003: online). Malone’s (1981)
theory of motivation describes how conditions that motivate are linked to
some type of reward that encourages the behaviour to reoccur. Extrinsic
rewards are external or outside of the task itself, such as praise or grades.
Alternatively, intrinsic rewards occur within the individual as a positive
response to the task itself.
On the other hand, engagement is about direct behaviour, and ”describes
energy in action, and the connection between person and activity” (Russell et
al., 2003: online). A positive connection is linked to words such as ‘engaged’,
‘committed’ and ‘involved’, whereas ‘disaffected’ and ‘alienated’ suggest the
opposite. These authors add that engagement is more likely to be adversely
affected since it links to behaviour, as a student can be psychologically
motivated to learn, for example, but disengaged through the learning
experience.
2.3.2 Factors affecting engagement
The benchmarks identified by the NSSE as effective educational practices
promoting student engagement, include the following (Kuh, Kinzie, Schuh,
and Whitt, 2005):

27
• a level of academic challenge focussing on intellectually challenging
and creative work.
• active and collaborative learning based on the premise that students
learn more when they are intensely involved in learning and reflection,
especially through discussion and interaction.
• an enriching educational experience which includes the use of
technology.
• a supportive campus environment that enables the student to cope
and thrive socially and academically.
• student/staff interaction which emphasises healthy relationships.
2.3.3 Engagement and the use of technology
With reference to Kuh, Deneen (2010:online) concludes any adoption of
technology should support the NSSE findings, and can contribute to
engagement if pedagogy drives the learning environment. She defines student
engagement and technology as “a rendezvous between learning and the
digital tools and techniques that excite students”.
2.3.4 Creative environments and engagement
In her book Creativity in context, Teresa Amabile (1996) describes the impact
motivation has on creativity, which subsequently impacts on students’
engagement in the creative design process. Collins and Amabile (1999) stress

28
how motivation towards task links strongly to stages of the design process and
assessment practices.
During the divergent or brainstorming stages of the design process, focus is
on generating ideas or solutions to problems. Here, Amabile (1998:79)
explains how vital intrinsic motivation is when dealing with creativity, and
claims ”people will be most creative when they feel motivated primarily by the
interest, satisfaction and challenges of the work itself – and not by external
pressures”. Mihaly Csikszentmihalyi’s ‘theory of flow’ proposes a similar
concept. He argues for a frame of mind, linked to human happiness and
fulfilment, where ”people are so involved in an activity that nothing else seems
to matter” (Deitz, 2004: online). Flow is common in creative spheres and
describes a time when work flows easily as opposed to feeling frustrated with
your task (McGuiness, 2006).
The convergent stage of the design process focuses on evaluating and
choosing ideas, completing the task, and communicating results. Information
received from the external environment, such as goals, criteria for success
(assessment) and informative feedback enables engagement by encouraging
students to assess their creative effort within a given context (Collins and
Amabile, 1999).
A number of theorists describe ideal environmental conditions that motivate
intrinsically and support the theory of flow. In Table 1, I condense those
described by Malone (1981), Vockell (2010) Csikszentmihalyi (Dietz,1994;
McGuiness, 2006) and Amabile (1998,1996), and include related guidelines
for application in an educational setting.

29
Table 1: Environmental factors affecting intrinsic motivation.
Factor and
description
Related guidelines in education
Individualfactorsthatmotivatewhenlearnersareworkingontheir
own
Challenge : Learners
enjoy a challenge that
requires skills.
Set personally meaningful goals with clear criteria for performance and allow
as much freedom as possible in finding their own solutions.
Give concrete, immediate feedback on performance that explains
how well students are doing. This makes it easier to adjust for optimum
performance or flow. Provide feedback on creative work as well as
professional behaviour.
Set appropriate tasks. Too high a challenge will produce anxiety and
frustration. Too easy a challenge will produce boredom.
Curiosity: Something in
the environment attracts
attention and promises
new knowledge.
Stimulate sensory curiosity through use of technology.
Stimulate cognitive curiosity by making students wonder about something.
Control: Learners have a
basic tendency to
want to control what will
happen to them.
Makes the cause-and-effect relationship clear between what they do in the
classroom and what happens in real life.
Allow learners to have some say in how they will learn something.
Explain why subject matter is worth learning, and that their work will have
powerful effects.
Fantasy: Learners use
mental images of
situations not present to
stimulate their behavior.
Make a game out of learning.
Help learners to imagine themselves using the information learnt in real life
settings. Make the fantasies intrinsic not extrinsic.
Interpersonalfactorsthatmotivatethrough
interactionwithothers
Competition: Learners
satisfied by comparing
their performance
favourably to that of
others.
Although competition occurs naturally as well as artificially and is more
important to some than others, it produces negative effects on motivation.
Create a learning environment that is relatively free of competition as students
who lose at competition often suffer more than the winners profit. This is
especially relevant in a creative environment. Competition also reduces the
urge to be helpful to others.
Co-operation: Learners
feel satisfied by helping
others achieve their goals.
Co-operation occurs naturally as well as artificially, and is more important for
some people than for others.
Encouraging co-operation develops interpersonal skills and is a useful real-life
skill.
Recognition: Learners
feel satisfied when
others recognise and
appreciate their
accomplishments.
Recognition requires the process, product or some other result of the learning
activity to be visible.
This differs from competition in that it does not involve comparison with the
performance of someone else.

30
2.3.5 Summary
Researchers agree when students are engaged in learning it signifies a
willingness to devote time and energy to educationally meaningful activities.
They also agree on the importance of creating an active, collaborative
learning experience that concentrates on healthy faculty/student relationships,
coupled with a rich learning environment that uses technology.
In this section I established that motivation and engagement are two different
concepts, with engagement linked to direct behaviour and energy in action.
Despite this, engagement and motivation are connected when involving
creative activities, especially during stages of the design process and
assessment. Hence, any adoption of technology as part of learning should
support and promote these concepts.
2.4 Learning theory and e-learning
There are many schools of thought pertaining to learning theory applicable to
e-learning environments. Ertmer and Newby (in Ally, 2004), cite
behaviourism, cognitivism and constructivism as appropriate e-learning
strategies. Weller (cited in Nichols, 2003), includes collaborative learning,
problem-based learning, narrative-based teaching and situated learning as
philosophies potentially underpinning e-learning. Likewise, Bransford, Brown
and Cocking (2003), describe four overlapping lenses through which effective
online, constructivist learning environments could be viewed: namely learner-
centred, knowledge–based, formative assessment and community of
learning.

31
In contrast, two learning theorists, Stephen Downes (2007) and George
Siemens (2004) argue that past theories “were developed in a time when
learning was not impacted by technology” (Siemens, 2007:online) and have
contributed to a new learning theory that accommodates learning tools in a
digital era, calling it connectivism. A central tenet of this theory insists current
theory looks at learning that is brain-based, and ignores learning that occurs
outside of people, that is, learning that is stored and manipulated by
technology.
In the following sections I describe three main educational approaches or
philosophies, namely, Behaviourism, Cognitivism and Constructivism, and link
them to appropriate pedagogies, student engagement and a mixed-mode
studio.
2.4.1 Behaviourism
Bower and Hilgard (1981) describe how Watson, Thorndike, Pavlov, Skinner
and Hull predominantly influenced the behaviourist school of thought. These
theorists collectively argued that an indication of learning was an observable
change in behaviour, and that it had nothing to do with what went on in one’s
head. Learning was approached as an outcome, expressed as a product of a
stimulus-response-feedback and reinforcement process, and motivation to
learn was driven by rewards and punishments (Merriam and Caffarella,
1991). Even creative behaviour, Skinner argued, could be promoted by
following it with a reinforcer (Epstein, 1991)

32
Ally (2004:7) suggests that behavioural learning can be used to teach explicit
knowledge or the ’know what’ in an e-learning environment. These are
expressed as behavioural objectives such as what the student will be able to
say, do or write at the completion of the lesson (Alessi and Trollip,1985). Ally
(2004) describes how online testing, for example, determines whether the
outcome has been achieved, and feedback allows students to monitor how
they are doing and take corrective action. Although this type of activity has its
place in e-learning environments, it only deals with the ability to recall or state
information. According to Bloom (1985), knowledge is a low level activity on
his taxonomy but a necessary one if we wish learners to progress to the next
level, being comprehension, which is necessary for transfer.
According to Jackson (1995:online), “unlike other academic subjects, design
has a small body of factual knowledge which a student has to acquire and
which can be assessed” However, this factual knowledge underpins a ‘visual
vocabulary’ relevant to ‘visual literacy’ recognised by Dondis (1972) in his
book A visual primer of visual literacy. In other words, vocabulary as explicit
knowledge underpins the ”dialectic process” (Oxman, 1999:108) described in
design thinking and acknowledged by Donald Shon (Smith, 2001) which
requires design students to reflect on and discuss their own work.
2.4.2 Cognitivism
Researchers such as Gardner (1999), Bruner (1986) and Ausubel (1968)
challenged the behaviourists’ notion that human beings were a blank slate
and could be trained to do anything. Their cognitive theories focussed on the

33
workings of the mind, and viewed learning as an internal mental process that
develops capacity and skills to learn better. Theorists recognise the ‘black
box’ of the mind and liken it to a computer: ”information comes in, is being
processed, and leads to certain outcomes” (Learning theories
knowledgebase, 2008: online).
Cognitive theory recognises processes such as memory, perception and
attention, individual differences and problem solving as vital to understanding
(Ally, 2004; Alessi and Trollip, 1995). Hence, cognitive strategies can be used
to teach tacit knowledge or’ ‘know how’ through processes, practices and
skills that apply explicit knowledge (Ally, 2004:7; Bloom, 1985).
Memory
Ally (2004) describes how cognitive theory looks at learning as information
processing. Using one’s senses, information is transferred to a sensory store
and then working memory. Working memory is where active thinking occurs
and can only store a limited amount of information, which is eventually
transferred to long term memory for storage. Consequently, working memory
and long term memory form nodes which connect to form relationships, or
networks. Ally (2004) emphasises the need for a learning strategy that
enables learners to retrieve existing information from long term memory to
help make sense of the new information, while limiting the cognitive load on
working memory. This can occur in three ways:
• Information needs to be ‘chunked’, or presented in manageable
amounts, to facilitate processing in working memory and prevent

34
overloading. Between five and seven chunks of information is
accepted as feasible. (Miller cited in Ally, 2004).
• Organisation of information and the principle of repetition aids
memory enhancement (Alessi and Trollop, 1995).
• Ausubel (1968:iv) insists “the most important single factor
influencing learning is what the learner already knows”. He
emphasises scaffolding and developed the concept of advance
organisers, to provide support for new information by prompting
what is already known.
If we acknowledge the writings of online learning theorist Siemens (2004), the
use of memory as a means of retrieving knowledge needs to be considered
within the context of technology and the internet. Siemens (2004) argues that
it is impossible to experience or remember everything; that through the
Internet other people’s experiences and hence their knowledge becomes
paramount to our knowledge. John Seely Brown (2002:20) supports this
argument and points out ”the internet leverages the small efforts of many with
the large efforts of few”, hence the emphasis shifts from knowing what or how
to knowing where to find it. Secondly the skill now lies in recognising
connections and patterns, and evaluating the worthiness of knowledge
(Siemmens, 2004).
Peception
Kolb (cited in Ally, 2004) suggests two components make up our learning
experience: perceiving and processing. Learners use their sensory systems

35
to perceive and absorb information before understanding and processing can
occur.
When using communication technologies, perception can be facilitated
through the use of colour, sound, visuals, animation, position of screen
elements, and characteristics of text such as size and colour, (Alessi and
Trollip, 1995).
2.4.3 Constructivism
We can distinguish between cognitive (individual) constructivism in the
writings of Piaget (1929), Dewey (in Field, 2005) and Schön (1983) , and
social (community) constructivism as described by Vygotsky (1978), Bruner
(1986) and Lave and Wegner (1998).
Although cognitivists recognised the importance of the mind, learners were
present to assimilate knowledge through what teachers presented, or through
transmission of information. Jean Piaget (in Merriam and Caffarella, 1991)
was the first philosopher to suggest humans learn through experience and
are actively involved in constructing meaning, rather than passive recipients
of knowledge. The core of constructivism as expressed by Karagiorgi and
Symeou (2005:18) explains
…individuals live in the world of their own personal and subjective
experiences. It is the individual who imposes meaning on the world,
rather than meaning being imposed on the individual.

36
In this way, learners are central to learning, as the individual interprets and
processes information to create meaningful understanding. Constructivism
supports the notion of generative learning, which asks student to create
meaning from what they are studying by using and applying the information in
a variety of contexts. It “requires students to take static information and
generate fluid, flexible, usable knowledge” (Wilson, 1996:67). In addition,
Jonassen (1999) adds that the primary goal of constructivism is to foster
problem solving and conceptual development, and is well suited to ill-defined
or ill-structured domains.
The idea of a learning community
Social constructivism acknowledges that real-life learning is messy and
complex, and predicts learning is effective when ‘learning environments’
emulate this ‘fuzziness’. Moreover, it reinforces this ‘learning environment’ as
a place where “learners construct understandings and develop skills relevant
to solving problems” (Driscoll, 2000:376). Learners become investigators,
seekers and problem solvers and instructors become facilitators and guides
(Ally, 2004; Bransford et al., 2003; Wilson, 1996). However, Wilson (1996: 5)
warns against the presumption that “person-in-environment” places the
learner in isolation, especially when likening it to the lone ”nerdy surfer of the
Internet”. He therefore finds the term ‘learning community’ more appropriate.
Wilson (1996:5) elaborates on the idea of ’learning communities’ where
groups of learners work together, supporting and learning from one another
as well as their learning environments. Equally, Wenger (2006:1) speaks of
‘communities of practice’ and states that although the phenomenon is age-
old, what is new is how they relate to learning and knowing. He describes

37
communities of practice as “groups of people who share a concern or a
passion for something they do and learn how to do better as they interact
regularly”. Furthermore, they share three characteristics: domain (implies a
commitment and shared competency in an interest), community (members
engage in joint activities and discussions, help each other and share
information) and practice (implies a sharing of tools, experiences and ways of
solving problems). David Harrington (in Conti and Amabile, 1999: 258)
observes the impact of the social environment on creativity and recognises
that in order to support ongoing creativity in a group, it is essential to develop
a collaborative ’creative ecosystem’.
…because creative people tend to be curious and active, their
ecosystems need to provide them with encouragement and
opportunities for playful task engagement. These opportunities
sustain their intrinsic motivation towards their work. (Conti and
Amabile, 1999: 258)
John Seely Brown (2002: online) writes extensively about using technology to
create ‘learning ecologies’, which he explains as ”an environment that fosters
and supports the creation of communities”. He argues a shift is occurring from
”using technology to support the individual” to ”using technology to support
relationships” and this underlying concept of “helping us help each other’” is
fundamental to lifelong learning.
Lastly, Siemens (2003) describes the major spaces ideally needed in
technology driven communities:
a. A space for Gurus and Beginners to connect (master/apprentice).

38
b. A space for self-expression (blog, journal).
c. A space for debate and dialogue (listserv, discussion forum, open
meetings).
d. A space to search archived knowledge (portal, website)
e. A space to learn in a structured manner (courses, tutorials).
Furthermore, Downes (2004:24) elaborates on the values of blogging and
believes that they offer students a chance to ”reflect on what they are writing
and thinking as they write and think about it”. He also describes how blogging
is about reading and engaging with content and authors – “reflecting,
criticising, questioning and reacting”.
Constructivism and collaboration
|Social constructivism, as proposed by Vygotsky in the 1930’s (McCleod,
2007) and later recognised by Bruner (1986), places learning into a social
context, and suggests knowledge is created through collaboration and
sharing of culture. Brown (2002) describes knowledge as an iceberg, (Figure
3) and declares that since explicit knowledge
…lives in people and their practice, it comes alive in and through
doing things, in participation with each other in the world. Tacit
knowledge can be distributed among people as a shared
understanding that emerges from working together.

39
Figure 3: Knowledge as iceberg (Brown, 2002)
McLoughlin and Lee (2007) describe how appropriate use of wikis, blogs and
social networking sites can support and encourage knowledge sharing and
collaborative content generation.
Personal conversations with colleagues during 2011 raised the issue of social
networking and the Internet. It was mentioned that students were ‘picking up
bad habits’ and ‘spending way too much time on Facebook’. McGuinness
(2011: online) maintains “Creativity is not 100% efficient. It requires idle
conversation, new connections and sources of information – all of which can
be found in abundance on social networks”. He argues for guidelines and
proposes that we encourage students to develop relevant, professional
networks with peers and professionals, which promote learning and sharing of
ideas and best practices.

40
Constructivism and learned-centred environments
Bransford et al. (2003:133) use the term ’learner-centred’ to refer to
”constructivist environments that pay careful attention to the knowledge, skills,
attitudes, and beliefs that learners bring to the educational setting” as this
affects their abilities to solve problems and acquire new knowledge. This is
especially true when dealing with technology, as Bennett et al. (2008:777)
dispute Prensky’s (2001a) claim that young people live their lives immersed in
technology”.
Anderson (2004) also argues how learner-centred contexts do not cater to the
individual whims of students, but rather serve as a bridge to connect
institution and student across which new knowledge builds. Chickering and
Ehrmann (1999) point out a communication technology such as electronic
mail, for example, strengthens student- faculty interaction as it enables a
speedy and safe exchange of work, without the demands of face-to-face
communication.
Constructivism and assessment
Wiggins (2004) argues that far too many educators treat assessment as a
means to an end, as opposed to activity that is central to learning. Jonassen
(1999) recommends an assessment strategy where demonstration of
knowledge acquisition or products, form only part of the assessment, and that
process should also be evaluated. Constructivist assessment-centred
environments revolve around providing feedback and opportunities for
improvement, relevant to a set of goals.

41
Bransford et al. (2003) remind us that formative assessment uses feedback to
improve learning, and summative assessment measures learning describing
the level of competency. To facilitate thinking and learning with
understanding, assessment needs to include the following: a) feedback, b)
guidance, c) evaluation, and d) assessment (Wiggins, 2004; Bransford et al.,
2003).
a. Feedback
Race, Brown and Smith (2005) write extensively on feedback. They
agree prompt feedback describes what is known and unknown, and
helps to focus learning by signalling the state of understanding. They
also emphasise the importance of group and individual face-to-face
feedback and discuss the advantages and disadvantages of using
electronic feedback.
Race et al. (2005) acknowledge the range and variety of electronic
feedback is vast and inclusive of email, track changes and comment
options on software programs. The advantages and disadvantages
of electronic feedback and face-to-face feedback are highlighted in
Table 2 (Race et al., 2005).
b. Guidance
According to Race et al. (2005) guidance provides feedback for
future direction. In order for guidance to be effective it should focus
on the sharing of information and exploring alternatives, as opposed

42
to advice given.
c. Evaluation
Evaluation, according to Race et al. (2005) describes success
relevant to a set of criteria. The focus is on providing students with
information on how they can improve their work relative to a
standard. Moreover, criteria help students to reflect-on-action as
described by Schon (Cross, 2001) in a way that develops personal
judgement.
d. Assessment
Assessment ranks students according to a set of criteria.

43
Table 2: Electronic versus face-to-face feedback: advantages and disadvantages.
Characteristic email
Computer-
delivered
Face-to-face
feedback
Can be sent at any time or place. ü
Feedback can be edited before sending. ü ü
Students can receive feedback when they are ready. ü ü
Feedback can be tailored to individual students’ needs,
strengths and weaknesses. ü ü ü
One can keep track of feedback given. ü ü
Students can reply directly about your feedback. ü ü
Students can refer to feedback again and again. ü ü
Can respond individually or one to many. ü ü
Students can learn from feedback given to others. ü
Can work through feedback at own pace. ü ü
Students who don’t understand responses can question
you further at the time of delivery. ü ü
Feedback uses advantages of tone of voice, facial
expression and body language. ü
Feedback is personal, intimate and authoritative. ü
Feedback can be perceived as threatening and critical. ü
Feedback can be embarrassing. ü
Constructivism and meta-cognition
In order to solve problems, students need to understand how they perform
cognitive tasks such as remembering, learning and problem solving. This
“thinking about thinking” (Downing, Cheung, Wong & Shin., 2007: 27) is
called meta-cognition and focuses on the process of problem solving. A Rich
Environment for Active Learning (REAL) (Dunlap and Grabinger, 1996)
encourages students to reflect on the thinking processes and outcomes of a
learning activity. Similarly, John Dewey argues for a ‘time out’ (Waks,

44
2001:40) from practice in order to reflect on the problem solved calling it
reflection-on-practice. This self-reflexive process involves three important
skills (Downing, et al. 2007):
• Knowing how to reflect and analyse thought
• Knowing how to draw conclusions from that analysis
• Knowing how to put what has been learned into practice
In a social constructivist context it requires students to explain and defend
their decisions to one another, leading to consensual understanding
(Karagiorgi and Symeou, 2005).
In the following diagram (Table 3) I adapted Downing, et al. (2007) and
Weinstein, Schulte, and Palmer‘s (2002) LASSI (Learning and Studies
Strategies Inventory) model describing meta cognitive processes, and related
them to potential e-learning activities enabling these processes.

45
Table 3: Meta-cognitive process adapted
for e-learning.
elearning activities
e-Mail
Onlinediscussion
Blogs
Privateonline
diariesorjournals
Onlinesurvey
usingscales
e-Portfolios
Meta-cognitiveactivity Self-evaluation during summative
and formative assessment
• Identifying strengths and weaknesses
after completing an assignment.
• Identifying what they know and don’t
know.
X X X X
Planning and self-regulation
• Give clear expectations and deadlines
• Encourage early submission of
formative assessments to aid ‘interim’
work
X
Debriefing the thinking process
• Students thinking about thinking
processes and making them explicit
X X X X X
Talking about thinking
• Identifying fears and expectations
• Students rate confidence levels
X X X
Keeping a thinking journal
• Evidence of achievements related to
learning outcomes is described
• Describes feedback received and
action taken
X X X X
Constructivism and learning styles
Gardner (1999) believes there are multiple intelligences that humans use
concurrently at some level when solving problems and developing skills.
While White (cited in Ford, 2006) denounces this and questions the origin of
these intelligences, educators embrace Gardner’s recognition of learning
styles, as their experiences in the classroom confirm that students learnt in
different ways. Ally (2004:14) defines learning style as ”how a learner

46
perceives, interacts with, and responds to the learning environment”. Gardner
(1999) and then Kolb (1981), recognised cognitive style or learning style, as
the learners preferred way of thinking, remembering or problem solving (Ally,
2004). Gardner (1999) explains we can use the concept of multiple
intelligences to create meaningful learning through multiple approaches to
understanding.
John Seely Brown (2000:online) writes “the web is the first medium that
honours the notion of multiple intelligences” and declares that educators now
have a chance to engage learners in their ideal way of learning, abstract,
textual, visual, musical, social and kinesthetic. Strategies for accommodating
diverse learning styles and promoting concepts of brain-based learning
include the use of verbal, textural and visual information to encourage
differences in processing and encoding (Ally, 2004).
On the other hand, Bennett, Maton and Kervin (2008:780) warn against
generalisations made by researchers such as Prensky (2001a, 2001b) and
John Seely Brown (2002) regarding learning styles and a generation of digital
natives. Bennett and colleagues explain how students change their approach
to learning ”depending on their perception of what a task requires and their
previous success with a particular approach” (Bennett et al.:780).
Constructivism and information resources
Jonassen (1999:225) explains learners need information with which to
construct meaning and supports the concept of rich sources of ‘just-in-time’

47
information which are ‘learner-selectable’. He adds, the problem informs the
type of information needed which should be included in the problem
presentation and in the form of information banks linked to the learning
environment. When using technology this includes text documents, graphics,
sound resources, video and animations. Dunlap and Grabinger (1996: 66)
describe this educational strategy as using “rich environments for active
learning” or REALs (2003). However, Jonassen (1999) warns against using
the World Wide Web as a generic, default storage medium that enables
access to multimedia resources through hyperlinks. He encourages filtering
during lesson planning, and Web links that support the problem solution and
information needed to perform the task.
2.4.4 Summary
The previous sections arrived at an understanding that a learning
environment that uses a combination of face to-face interaction and e-
learning is referred to as mixed-mode or blended learning. It was also
established in order for the learning experience to be beneficial and
pleasurable, pedagogy, learning theory and user experience needs to be
considered.
Pedagogy relates to the activities designed to facilitate learning and when
speaking of e-learning, include the WWW, online learning and e-mail for
example. It was emphasised when speaking of e-learning and learning theory
there are many schools of thought, but behaviourism, cognitivism and
constructivism was discussed and deemed relevant to the study.

48
Regarding e-learning, researchers established behaviourism was used to
teach explicit knowledge or know what, and cognitivism dealt with memory,
perception and attention.
Constructivism was recognised as the most appropriate learning theory and
recognises that students are active learners and create meaningful
understanding of information through various processes and activities. It was
proposed that interaction and collaboration with others in the form of a
community was vital, as was feedback and assessment practices that
recognise assessment as part of learning.
2.5 Experiential design and e-learning
In 1999, Pine and Gilmore described a shift in economics from a service
economy to an experience economy. Essentially, they proposed, engaging
people in a product involved staging an experience which includes
entertainment, escapism, educational and aesthetic realms. George Norman
(2004), philosopher and author of Emotional Design: Why we love (or Hate)
Everyday Things, elaborates on this concept and proposes a framework for
developing products that include their attractiveness, behaviour and the
image they present to the user. These dimensions translate into three design
modes, namely visceral, behavioural and reflective. Visceral design relates to
how users respond to the impact and appearance of a product or its
desirability; behavioural design is about function and usability; and reflective
design relates to the users’ feelings about the product, whether they enjoy
using it and find it useful.

49
In an interview Norman (2004:online) states ”I want products that are a joy to
behold and a pleasure to use”, and observes ”we now know how to make
products that work fine; how do we make products that make you smile?” He
stresses the need for ‘user-centred design’, which places the user at the
centre of all e-learning design initiatives, and argues that cognition and
emotion work together (elearningpost, 2001). Although Norman
acknowledges the need for ‘pedagogical usability’, the underlying premise of
his thesis is that attractive products work better because they make people
feel good, which puts them in a better frame of mind to solve problems and
learn. These concepts, now referred to as experience design, are accepted
as crucial to e-learning developments (Lenker, 2002; Mok, 1996). The
following sections highlight necessary design considerations to enable a good
design experience.
2.5.1 Writing for the Web, or Web-enabled materials
Jakob Nielson and George Norman founded the Nielson group which
specialises in design experience and usability engineering. Nielson (1997)
explains people rarely read Web pages, instead they scan them and pick out
keywords and sentences. He advises when writing for the web, designers
reduce cognitive load by applying the following:
• Meaningful subheads
• Bulleted lists
• Highlighted keywords or concepts
• Short paragraphs
• The ‘inverted pyramid’ (Jeney, 2006) as writing style, starting with the

50
conclusion or key concept
• Simple writing style with half the word count used in conventional
writing
• Never use a long word when a short word will do
• Use active voice and first-person language
• One idea per paragraph
Alessi and Trollop (1995) add the following when laying out text in Web-
enabled materials:
• Do not underline type that is not a link
• Text should be lean and teach only what is needed – no more
• Should be clear and use common language and consistent
terminology
• Sentences should be well formatted and attention paid to line breaks
and paragraphs
• No blinking text as it is annoying and decreases legibility.
2.5.2 Type and technology
Lynch and Horton (2008) outline the most common difficulties when using
type and technology. On-screen type renders at a low resolution,
approximately 85 pixels per inch, which affects legibility. Therefore choice of
font, to maximise visibility and ease strain on one’s eyes, is limited to type
with certain characteristics.
• Fonts should be limited to those designed specifically for Web use,
such as Georgia, Verdana and Trebuchet which have large x-heights
and open counter spaces (See Figure 4)

51
• Contrast between type and background colour should be high
• Research has shown 11 point type with 13 point leading is the easiest
to read as continuous text on the Web (Wheildon cited in Lynch and
Horton, 2008).
• Avoid overuse of capital letters only.
Figure 4: Example of legible web fonts
2.5.3 New browser windows
Nielson (2011) recommends that links do not open in new browser windows
as these clutter up the computer window. If you need to send your user
outside of your site, Lynch and Horton (2008) recommend this is made clear
to your reader. Figure 5 shows how the use of link titles can accomplish this.
Figure 5: Screen shot of hyperlink.

52
2.5.4 Internet conventions
Nielson (2005a) explains how Web-enabled environments have common
design elements that users expect to see and work in a certain way. He labels
this phenomenon as Jakobs’ Law of the Web user experience, and claims
”users spend most of their time on other websites”, therefore, designers need
to make sure a users’ expectations are met. ”If they expect something to work
in a specific way, then that is how it should work” (Nielson, 2011:online).
These mental models of how things work (Lynch and Horton, 2008) govern,
for example, design patterns of links, back buttons, placement of navigation
bars and sign in boxes.
Figure 6: Screen shot of common design patterns or conventions for sign-in boxes
2.5.5 Hyperlinks
According to Nielson (2004) textual links should be coloured and underlined
which clearly indicates the areas function. Different colours for visited and
unvisited links should be maintained in variant shades of the same colour as

53
different colours create confusion. Other good design elements include:
• use of link titles to indicate link destination
• deep linking for usability. In other words, links that go directly to a site’s
relevant interior page and not a generic link to homepage
Lynch and Horton (2008) also emphasise the importance of the link
description. They suggest good links describe the page that will load as
opposed to non-descriptive click here for more information links.
2.5.6 Interactivity versus interaction
Lulee (2010) explains how the term interactivity is often confused with
interaction. She emphasises interactivity relates to technology and the
interaction it allows through user control. Wagner (1994:8) best described
interaction when she defined it as “reciprocal events that require at least two
objects and two actions. Interactions occur when these objects and events
mutually influence one another”. Michael Moore (cited in Anderson, 2004:45)
proposed three types of interaction in this regard; namely student-student,
student-teacher and student-content interaction. Accordingly, this also defines
two areas of interaction: single-user and multi-user interaction.
Single-user interaction describes how the user interacts with the content or
the web page. Nichols (2008) argues for two types of interactivity, indicative
and simulative. Button rollovers, site navigation, or clicking a button to start an
animation or turn the page is indicative interactivity. Nichols (2003:2) states
that “simulative interactivity is interactivity that enables students to learn from
their own choices in a way that provides some form of feedback”. Flying a
plane in a virtual environment that simulates reality or online quizzes that
explain incorrect answers, for example, provide simulative interactivity.

54
Multi-user interaction describes how the user interacts with others. Nielson
(2005b) lists the following as potential interactivity in e-learning that supports
interaction:
• Forms for feedback or asking questions
• Online voting
• Features for sharing pictures or stories with comment capabilities
• Message boards
• Forums for offering and receiving advice
2.5.7 Noise
In 1983, Edward Tufte, an expert on information graphics developed the
concept of signal-to-noise ratio (Lynch and Horton, 2008) which is now
applied to all types of communication. He declared communication consists
of useful information - the signal - which is degraded by irrelevant information
- visual noise. Lynch and Horton (2008:online) describe noise as ‘webjunk’
and characterise it as anything that demands attention at any cost. Included
in this description are gratuitous web animation or Flash and page
overcrowding. This principle relates strongly to interactivity.
2.5.8 Scrolling and attention.
Nielson (2010) suggests scrolling down or across for information be avoided
where possible. If this is unavoidable however, he recommends the most
salient information should be ‘above the page fold’ or within a screens’
viewable area. ‘Above the fold’ means viewable ‘without further action’
(Nielson, 2010: online). This principle is also related to screen resolution, and

55
Nielson (2006) advises pages should be optimised for 1024 x 768.
2.5.9 Images or diagrams
Alessi and Trollop (1985) recommend that pictorial images are only used
when instructionally useful and they support the text.
2.6.10 Colour
Colour should be used to attract attention to important information, but care
should be taken not to overuse. Colour should be consistent with common
usage, for example, red for stop or green for go.
2.6 Conclusion
The understanding I have reached thus far is that the design process extends
beyond the realms of the lecture room and the ‘big idea’. It involves planning
and strategy, creative problem solving, collaboration, reflection on practice
and communication. As Hugh Dubbley (2005:5) explains: ”we study the
design process to know what we do and how we do it. To understand and
improve it. To become better designers.”
Design thinking as the design process requires the student to actively
understand and analyse problems, and find strategies for solving them. It
means they need to involve themselves in recurring design research activities
that inspires and stimulates their knowledge acquisition. Design thinking
requires reflection in practice and on practice; between lecturers and amongst
their peers, coupled with a sound design vocabulary that can accommodate

56
these conversations.
I now understand that using sound instructional frameworks in an online
environment can potentially facilitate and manage many of the stages of the
design process.

57
Chapter 3
Research methodology

58
Research, from the French word recherché, means to go about seeking and
involves an orderly investigation into a subject matter that adds knowledge to
something already known, or it investigates a new problem or phenomenon.
According to Leedy and Ormrod (2005) the purpose of formal research is to
increase our understanding of the phenomenon in which we were interested,
and in turn report to others.
This chapter describes the types of data collected for the study, which aims to
provide a snapshot of the implementation of an e-learning environment that
uses innovative learning materials to enable the design process. Furthermore
it discusses the data collection instruments, research methodology, research
plan, sample group, ethics and analysis methods.
3.1 Data collection
The collection of data relevant to an investigation provides us with
”information used as a basis for reasoning, discussion or calculation”
(Merriam-Webster, 2008). When placed within a context or situation, this
information gives the observer a ‘snapshot’ of what seems to be true at a
point in time (Leedy and Ormrod, 2005:89). The research methodology
directs and represents this truth to others in a quantitative or qualitative way.
Quantitative methods, referred to as experimental or positivist studies,
explain, predict and control phenomena through observation and
measurement. Qualitative research, referred to as interpretative, constructivist

59
or post positivist method, answers questions by describing and understanding
phenomena from the participants’ view (Leedy and Ormrod, 2005).
Based on my goal of measuring students’ experience of a phenomenon, and
the characteristics of qualitative research as depicted by Greyling (2007) in
Table 4, I understood my study falls into the social sciences paradigm.
Table 4: Characteristics of qualitative research (Greyling,2007)
3.1.1 Data collection planning matrix
As described in Chapter one, the overall aim of my research was to explore
the use of technology as a tool in engaging students in the design process. I
wished to understand the potential of e-learning as a phenomenon generally
not associated with studio-based learning environments (Souleles, 2005). The
questions I attempted to answer during the course of this study influenced the
type of data collected and the manner in which this data was measured,

60
analysed and presented. My data collection, planning matrix after Greyling
(2007), describes the following;
a. questions I asked relevant to the study
b. rationale behind these questions relevant to understanding the
phenomenon in question
c. source of the data as a basis for reasoning, discussion,
measurement and analysis
Table 5: Data collection planning matrix based on Greyling (2007)
What I needed to
know?
Rationale Data source Data type
What constitutes the
design process, relevant
to the creation of an
artifact in graphic
design?
To design a model which
informs the development of an
e-learning environment that
promotes engagement in
design process.
Research
literature
Preliminary
research
What is the distinctive
nature of successful
e-learning
environments?
To inform the development of
engaging, technology driven
pedagogies.
Research
literature
Preliminary
research
Research question 1
What aspects of design
process can be
facilitated using e-
learning?
To link the model of the
design process to technology
driven pedagogies
Research
literature
Online artefacts
Preliminary
research
Primary data
collection
Research question 2
What factors should be
considered when
designing a successful e-
learning environment?
To apply established concepts
behind technology driven
pedagogies, with the desired
outcome of creating a useful
and pleasant learning
experience.
Research
literature
Focus group
interview.
Preliminary
research
Primary data
collection
Research question 3
How would second year
graphic design students
experience the
intervention?
To report on the e-learning
experience from the students
perspective. To gain insight
into possible improvements.
Focus group
interview.
Participant
observation
Primary data
collection

61
3.1.2 Data collection measuring instrument
The ultimate goal of this study was to analyse and report on the students’
experience of the e-learning environment, hence obtaining a broad spectrum
of ideas on how to improve the learning intervention. To this end, I selected
focus group interviews as my data collection, measuring tool.
Motivation for choosing focus groups
Focus groups were chosen over personal interviews for the following reasons.
Firstly, Beck, Trombetta and Share (1986:73) describe focus groups as ”an
informal discussion among selected individuals and about specific topics
relevant to the situation at hand”. This essentially describes a structured
group conversation which, it is assumed, provides us with genuine
information on how people have experienced a common event (Barbour and
Kitzinger, 1999; Vaughn, Schumm and Sinagub, 1996).
Secondly, according to Vaughn et al. (1996) individual interviews are less
likely to produce frank and open discussion. The group dynamic in focus
groups produces a wider bank of data through interaction, stimulation, and
provides valuable insights into attitudes, ideas, opinions and experiences
(Barbour and Kitzinger, 1999). Additionally, the comfort of a group means
respondents are not required to answer every question which elicits a more
genuine response (Byers and Wilcox, 1998).
As a researcher I am aware of the limitations of focus groups, namely that the
type of data generated,is qualitative data, making it difficult to analyse (Leedy
and Ormrod, 2005).

62
Sample group or participants in study
During the course of this study, access to participants was limited to the
population enrolled in the Communication Design course at the Durban
University of Technology and further, to students enrolled in their second of
study.
In qualitative studies, the choice of participants is either referred to in general
terms or relates to the purpose or goals of the study (Trochim, 2002). Since
the ultimate goal of this study was to analyse and report on the students’
experience of the e-learning environments, I sampled for purpose and
diversity. Trochim (2002) describes this as sampling for heterogeneity, which
supports my primary interest, namely obtaining a broad spectrum of ideas on
how to improve the learning intervention.
When describing participants in a study, the methods used for their selection
provides information about the potential for bias in a study which potentially
undermines its’ validity (Herrington, McKenney, Reeves and Oliver, 2007). As
a qualitative researcher, I am aware my research is exploratory in nature, and
understand I need to enter the study with an open mind (Leedy and Ormrod,
2005). I am also aware of the validity of what seems to be true, due to the
close relationship I have with the participants (Barab and Squire, 2004).
Ethics
As my study involves the use of human subjects as central to the
investigation, ethical responsibility was vital. Subjects were in no way
exposed to physical or psychological harm, and every attempt was made to

63
protect them from unusual stress, embarrassment or loss of self-esteem
(Leedy and Ormrod, 2005).
Although the subjects participated in the study as part of their curriculum,
informed consent was obtained from each student. Consent forms explained
the nature of the study, and participants were given the option of withdrawing
their contributions to the course content, as part of the study, at any time.
(See Appendix 3 for copies of informed consent forms).
During data collection and analysis, the participants’ right to privacy was
respected, and at no time are they referred to by name (Leedy and Ormrod,
2005).
Setting up the focus group
According to Barbour and Kitzinger (1999) and Vaughn et al. (1996), the
following needs to be considered when setting up a focus group: a)
recruitment of participants, b) structure, c) choosing a setting, d) preparation
of discussion guide, e) the moderator, and f) recording of discussion.
a. Recruitment of participants
Before setting up the focus group, participants were recruited by
inviting them to participate. A notice serving as a reminder was
displayed in the classroom, which detailed the time, place and date
of the discussion.

64
b. Structure
Structure relates to the number of participants used in the focus
group and the number of focus groups needed. Researchers
disagree on the number of participants, with numbers ranging from
eight to twelve (Barbour and Kitzinger, 1999) and six to eight
(Krueger, 1998) depending on circumstances. Brown (1992) advises
six to twelve numbers in a heterogeneous study. Since the ultimate
goal of this study required me to sample for heterogeneity as
described by Trochim (2002), I invited twelve participants.
c. Setting
Due to the nature and duration of the discussion, it was important to
choose a comfortable, informal and private venue. (Barbour and
Kitzinger, 1999). The fourth year seminar room was selected as it
provided for all of the above criteria. Snacks and drinks were also
provided.
d. Preparation of discussion guide
A discussion guide highlights the topics and issues to be covered
during the interview. It provides a framework for the moderator, and
details the main questions as well as prompts and probes that focus
the discussion. The interview guideline used during the focus group
was adapted from Leedy and Ormrod (2005) and is presented in
Table 6. The conjectured design process model I developed as the
instructional end point (see Figure 9, page 85) was used as a basis
for developing the interview guideline. This focussed the questions

65
on the students’ experiences, relevant to various activities outlined in
the model.
Table 6: Interview guideline for focus group
Research question
Interview question
Subordinate questions for
main themes
Probes
To signal moderator
to keep elaborating
on main themes
Prompts
To clarify specific
aspects of the main
theme
Research question 1
What aspects of design
process can be
facilitated using e-
learning?
Can you name activities
that make up the design
process?
What motivates you to
participate in the design
process?
We’ve described the
different aspects of the
design process. Could you
explain how you feel
technology is used to
facilitate these processes?
How would you like to see
technology used in the
future to facilitate the
design process?
o Can anyone think
of any others?
o What did you
learn from that?
o How does it help
you to learn?
o How does it help
you to interact?
o How does it help
you to
collaborate?
o How does it affect
the way you are
assessed?
o How does affect
the way you
reflect on your
work?
o How does that
relate to how
things were done
in the past?
o Why do you think
that is so?
o Please elaborate/
explain again.
o How exactly?
o Why do you feel
that way?
o Could you
explain that
concept to me
again?
o What do you
mean by…
o Can you give me
an example of...
o You used the
term… Can you
you expand on
that?Research question 2
What factors should be
considered when
designing a successful
e-learning environment?
What should we think
about when using
technology to facilitate the
design process?
Research question 3
How would second year
graphic design students
experience the
intervention
How do you feel about using
technology to facilitate the
design process?
Is it useful?
Do you feel it has value?
Is it pleasant?
How can this be improved
on?

66
e.The moderator
The moderator is responsible for directing and maintaining flow
during the discussion and should, ideally, have no vested interest
in the outcome of the focus group. The nature of my research
methodology, Design-based research, enabled me to moderate
the focus group without threatening the validity of the study.
f. Recording the discussion
It is recommended all comments are captured using an audio
recorder. The Olympus DM 450 digital voice recorder was used
during my focus group, and the recording capabilities on a Nokia
cell phone used as a back-up. Written notes were also taken as a
means to record nonverbal behaviour.
The audio recording was transcribed, and the transcripts served as
a primary source of data.
3.1.3 Data Analysis
A grounded theory approach was adopted during the analysis of the focus
group transcript and written artefacts allowing my ”participants to speak in
voices that are clearly understood” (Strauss and Corbin, 1998:56). Open
coding, using line-by-line analysis and margin notes was used to identify
common concepts in the text. These concepts were then grouped into
categories and sub-categories for presentation.

67
3.2 Research methodology
The term research methodology describes an approach taken by the
researcher when investigating a subject matter, and defines ”a set of
procedures” that we use to understand our world better (Merriam-Webster,
2008).
3.2.1 Awareness of appropriate methodologies
I identified two potentially suitable methodologies through which I could
conduct my investigation: action research and design-based research. The
fundamental characteristics of action research after Kurt Lewin (in Ferrance,
2000) and design based research after Ann Brown (Barab and Squire, 2004),
are compared in Table 7.

68
Table 7: Comparison of fundamental characteristics of action research and
design- based research
Characteristic
Action research
Ferrance (2000)
Design-based research
Barab and Squire (2004)
Research takes place in an educational setting X X
Embraces self-reflective processes that allow
for inquiry and discussion into own practice
X X
Encourages collaborative activity amongst
colleagues
X X
Method deals with the empirical or was theory-
orientated
X
Involves iterative cycles of development X X
Research informs and changes the researchers
practice
X X
Method results in an innovative learning
intervention or object
X
Study concerns localised practice, and not
generalised contexts.
X
Method is solution-orientated X
Student is subject and object of enquiry X
My research goal, to understand how a learning intervention works through
the participants’ perspective, rested within the paradigm of qualitative
research. Designing a learning intervention based on cognitive science, is
empirical in nature and lies within the paradigm of quantitative research. This
combination of positivism and constructivism, referred to as mixed
methodology (Brown, 1992), led to my choosing design-based research as
my research methodology.
3.2.2 Design-based research
Historically, educational researchers and cognitive scientists worked in
isolation, and the cognitive science of learning was removed from teaching

69
practice (Brown, 1992). As a result, researchers studied these processes
isolated from context which led to an incomplete understanding of how
learning occurred in a naturalistic setting (Barab and Squire, 2004).
John Dewey, an educational reformer, called for the unity of theory and
practice in the 1890s (Westbrook, 1999). A century later, Ann Brown
embraced “the new science of learning” (Brown, 1992:8) as a means to
understand how people learned in context, with the goal of providing
evidence-based claims to this effect. At the same time, various types of
instructional design models existed (ADDIE, for example) but lacked a sound
scientific knowledge base as a starting point to developing instructional
models (Gravemeijer and Cobb, 2006:45).
This desire to create credible research in education requires an investigative
approach Brown called design experiments or design-based research (Brown,
1992). In collaboration with Allan Collins (1992), this methodology bridged the
gap between laboratory-based educational research and learning that occurs
in a naturalistic context. [I have analysed the characteristics of design-based
research (Gravemeijer and Cobb, 2006; DBCR, 2003; Brown, 1992; Collins,
1992) in relation to qualitative and quantitative research (Leedy and Ormrod,
2005) and presented them in Appendix 2].
Hence, a design experiment or design-based research begins with a problem
in an educational environment and attempts to solve it by designing an
innovative learning intervention (Sandoval and Bell, 2004). The ultimate goal
is to develop local instruction theories which inform practice.

70
A key concept in design research is that it is research driven. This means it
should have clear goals and use empirical research and theory to design and
develop learning environments or interventions, followed by implementation
and evaluation of the proposed solution in practice using an iterative process
of micro cycles of analysis (Herrington etal., 2007). This involves efforts to
understand how the intervention works within the context, then redesign and
re-implementation. As educators and designers, the aim is to understand the
relationships between educational theory, designed artefact and practice
(DBCR, 2003; Gravemeijer and Cobb, 2006).
The characteristics described above remain true to my objectives, and
describe a methodology best suited to my goals: to use new pedagogies to
engage graphic design students in the design process. In addition, design
based research accepts that contextual or naturalistic research is messy and
unpredictable, which allowed me opportunities to make mistakes, modify my
design and my thinking (Brown, A. 1992; Collins, 1992; DBRC, 2003;
Gravemeijer and Cobb, 2006). Collins, Joseph and Bielaczyc (2004:18) best
described this approach when they argued:
…this approach of progressive refinement in design involves putting a
first version of a design into the world to see how it works. Then, the
design is constantly revised based on experience, until all the bugs
are worked out.
I also realised early on in my study that it would be difficult to complete a fully
functional e-learning environment that accomplished all my objects. Design-
based research goes beyond the perfection of a product, and focusses on

71
models of innovation, and data that describes how the intervention works
(DBCR, 2003; Brown, 1992; Collins, 1992).
3.2.3 Challenges of design-based research
Although Barab and Squire (2004:12) describe how design-based research
has grown in “popularity and significance”, they acknowledge the metho-
dology is in its infancy. The challenges linked to design-based research
include variables , the notion of context and validity and reliability.
Variables
According to Leedy and Ormrod (2005:218), a variable is ”any quality or
characteristic in a research investigation that has two or more possible
values”. In research that establishes causal relationships, one variable (the
cause) influences another variable (the effect). An independent variable is the
“possible cause of something” and manipulated by the researcher. A
dependent variable is the observed result of the independent variable or
outcome, and “in the social sciences and education, often some form of
human behaviour” (Leedy and Ormrod 2005:218).
Scientific experiments control variables, which define boundaries and
subsequently render the study trustworthy, free from bias and replicable. The
challenges in design-based research involve describing variables in a realistic
setting, and controlling those that affect the design intervention. (Barab and
Squire, 2004; Collins et al., 2004). Hence, Collins et al. (2004) agree, in
design-based research, no attempt is made to control variables or hold them
constant. ”The goal instead is to identify all the variables or characteristics of

72
the situation that affect the dependant variable of interest” (Collins et al.,
2004:5).
Context
The notion of context is key to design-based research. This is due to the
assumption that cognition is not located in the individual thinker but ”is a
process that is distributed across the knower, the environment in which
knowing occurs, and the activity in which the learner participates” (Barab and
Squire, 2004:1).
Design-based research focuses on understanding how learning occurs in the
”messiness of real-world practice” and context viewed as “a core part of the
story” (Barab and Squire, 2004:3). To this end, a successful innovation is
described as “a joint product of the designed intervention and the context”
(DBCR, 2003:7).
The challenge in this regard relates to context as a variable. Variables define
boundaries and subsequently render a study trustworthy, free from bias and
replicable. Context, on the other hand, is difficult to describe in terms of
boundaries and what constitutes naturalistic. Barab and Squire (2004:11)
conclude:
…the goal is not to sterilise naturalistic contexts from confounding
variables so the generated theory is more valid and reliable. Instead,
the challenge is to develop flexibly adaptive theories that remain
useful even when applied to new local contexts.
In addition, design-based research does not attempt to gain experimental
control. Cobb, McClain and Gravemeijer (in Barab and Squire, 2004:10)

73
accept the context and the complexity of dependent variables in their
‘teaching experiment’ and implore researchers “to intervene where possible,
using interventions as opportunities to examine core theoretical issues and
explore learning” and. In this way, a successful learning innovation is a joint
product of the designed intervention and context.
Validity and reliability
Defined, validity relates to the accuracy of a study in terms of what is
measured or concluded relative to the real world. Validity relates to reliability
regarding the extent to which these measurements or conclusions give
consistent results and whether they are replicable. Internal validity implies the
study was conducted with rigour, and looks at how measurements were
taken, what was measured, and causal relationships. External validity refers
to the extent to which the results of the study are transferable to other
contexts, and reliability relates to how these measuring procedures would
yield similar results under repeated circumstances. Design-based research
strives for external validity (DBCR, 2003).
In design-based research there is a tight relationship between the researcher,
designers and implementers, and in some cases the researcher is the
designer and implementer (Hoadley, 2004). This was true in my own study.
Barab and Squire (2004:10) explain the researcher is causing the interactions
they are making claims about, which threatens the validity of the study:
…if a researcher is intimately involved in the conceptualization,
design, development, implementation, and researching of a
pedagogical approach, then ensuring that researchers can make
credible and trustworthy assertions is a challenge.

74
Similarly, design-based research moves beyond simple observation and
involves the engineering of context ” in ways that allow us to improve and
generate evidence-based claims about learning” (Barab and Squire 2004:2). I
am aware participants are central to the study, and co-participants in both the
design of the intervention and the analysis (Barab and Squire, 2004), which
in turn blurrs the ‘objective’ researcher-participant distinction
(Hoadley,2004:204).
According to Leedy and Ormrod (2005:88) the researcher is a catalyst ”whose
primary function is to collect, organize and report what the collected data
seem to indicate’. This approach means any competent person could
complete or replicate the study.
3.3 Assumptions
Assumptions that enable this study to take place include the following:
a. All participants have completed a first year of study offered as part of
a course in Communication Graphic Design.
b. All participants have basic computer skills inclusive of Microsoft Word
and PowerPoint, understand how to send electronic mails (e-mail) and
can use the Internet to conduct searches for information.
c. All participants have access to a computer laboratory linked to the
World Wide Web.

75
d. The institution at which the students are registered is subscribed to
Blackboard WebCT 6.
e. Researchers have received training in Blackboard WebCT 6, and are
familiar with the associated terms used and potential applications of the
VLE.
f. It assumed that researchers attempting to imitate this study will
familiarise themselves with the technical aspects of technologies such
as Flickr, Blogspot, and Adobe.
3.4 Research design
Although various researchers affiliated to design-based research adopt
different strategies for solving a research problem (DBCR, 2003; Ritland,
2003), I selected the research design described by Gravemeijer and Cobb
(2006) to conduct my experiment. Simple in structure, it recommends a three-
phase research plan, namely preparing for the experiment, experimenting in
the classroom and conducting retrospective analysis, each of which is
discussed in more detail below.
3.4.1 Phase one: Preparing for the experiment
According to Gravemeijer and Cobb (2006:48), preparing for the experiment
begins with the identification of the goal of the study, or “instructional end-
point”. In this instance, the goal was to use an e-learning environment to
enable the design process. The “instructional starting point” (Gravemeijer and

76
Cobb 2006:49), focusses on the consequences of earlier instruction, and
informs the ”instructional end-point”. Additionally, instruction affected by
history, tradition and current assessment practices influences both the
instructional starting point and end-point.
My graphic interpretation of the ”initial preparation for the experiment” as
described by Gravemeijer and Cobb (2006), is depicted in Figure 7.
Figure 7: Graphic interpretation of preparing for the experiment
The instructional starting point
My instructional starting point concentrated on unpacking consequences of
earlier instruction, and occurred over a two year period. It began with an
Assessors’ Training course, which required participants to submit a self-
reflective portfolio focussing on assessment practices and consequences of
instructional practices. In addition, preliminary research provided me with
insights into how history and studio-based teaching traditions had informed
my practice.
An online learning course offered by the institution, using the Blackboard
Virtual Learning Environment, introduced me to the concept of e-learning.
Instructional
starting point Instructional
end-point
Focuses on understanding
consequences of earlier
instruction
Focuses on goal
Influenced by
history, tradition
and assessment
practices

77
This in turn highlighted the potential of using new pedagogies to improve on
my teaching and the manner in which my students could learn.
The following tables (Table 9 and 10) summarise the consequences of my
earlier instructional practices, exposed in my self-reflective portfolio, plus
historical and traditional influences as described in the literature review.
Table 9: A summary of the consequences of earlier instructional practice, as
influence on my instructional starting point: focus on understanding consequences of
earlier instruction
Instructional starting point
Focus on understanding consequences of earlier instruction
• Assessors
training
course
I compiled a self-reflective portfolio on assessment practices as part of an
Assessors training course, which revealed the following:
a) My assessment practices were based on the development of a product
and excluded process as part of assessment.
b) Over-assessment led to racing from production of artefact to production
of artefact. This allowed no time for peer assessment or reflection on
practice.
c) Norm-based assessment methods created a competitive work
environment.
d) Lack of assessment criteria, that served as a guide for the creation of the
artefact, feedback and assessment.
e) The lack of a concrete knowledge base to support production of artefacts
f) Students were needy, and demonstrated reluctance when it came to
decision- making regarding their work.
g) There was a focus on creative thinking skills, but not on critical thinking
skills

78
Table 10: A summary of historical, tradition and assessment practices as influence
on my instructional starting point: influenced by history, tradition and assessment
practices
Instructional starting point
Influenced by history, tradition and assessment practices
• History
• Tradition
• Assessment
• Pioneers: the
Blackboard
WebCT6 online
learning course
As discussed in Chapter two, studio-based practice is based on the Ecole des
Beaux Arts system, which embraces the following:
a. Setting of a design problem as the initiation of the educational process,
b. the studio as the simulation of the professional environment,
c. design process as the studio methodology,
d. studio master or tutor served as a guide and critic,
e. master or tutor intervened in the students designing,
f. juror system was a means of evaluation of the final product,
My participation in the Pioneers online learning course using the Blackboard
Virtual Learning System, highlighted the potential of facilitating parts of the
design process using e-learning.
The Instructional end-point
Gravemeijer and Cobb (2006:50) describe how the instructional starting point
provides insight into ”potential instructional end-points” or goals. These end-
points lead to the formulation of a local instructional theory consisting of
”conjectures about a possible learning process, together with conjectures
about possible means of supporting that learning process”.
3.4.2 Phase two: The design experiment
According to Gravemeijer and Cobb (2006) this phase begins with the
conducting of the design experiment. Once the starting points are defined and
the endpoints are specified, a conjectured local instruction theory is
formulated by the design researcher. This in turn leads to a process of micro

79
cycles of iterative testing, improving and understanding. The overall goal is
not to prove whether the intervention works, but rather to understand how it
did so within the context of the proposed local instructional design. This
formative evaluation allows the design researcher to gather information on
how the intervention succeeds which informs better design.
My instructional end-point, or goal, culminated in the development of a
conjectured design process model (Figure 9), focussing on a cognitive-based
way of working and learning in a mixed-mode, studio-based educational
environment. The model describes a possible learning process that revolves
around the development of core skills, namely practical thinking skills,
creative thinking skills and critical thinking skills.
This design experiment as an object developed over a period of four years,
involving numerous cycles of iteration. Initially, I had intended to use the
Blackboard VLE exclusively for on-line content, but as the study progressed, I
found alternative, more effective platforms for some activities. The means of
supporting the instructional end point eventually embraced the use of new
technologies inclusive of e-mail, the Blackboard WebCT6 VLE, Facebook, a
blog, Flickr and e-portfolios using Adobe Portable Documents Format. The
design experiment is presented in detail in Chapter four.
3.4.3 Phase three: Retrospective analysis
The DBCR (2003:7) describes how, during this phase, the intervention is
‘frozen’ and then evaluated in a summative manner. Data collected during this
phase concentrates on evaluating the consequences of the conjectured
design.

80
Chapter 4
Design presentation and analysis
[Phase two:
reporting on the design experiment]
4.1. Introduction

81
The primary objective of a design-based study is ”to develop broad models of
how people think, know, act and learn” and to generate evidence-based
claims about learning (Barab and Squire, 2004:5). The overall goal is not to
prove whether the intervention works, but rather to understand how it did so
within the context of the proposed local instructional design. This formative
evaluation allows the design researcher to gather information on how the
intervention was succeeding which informs better design (Brown, 1992;
DBCR, 2003).
As described in Chapter one, the overall aim of this study is to explore the
use of technology as a tool, which enables the design process, therefore my
research problem addresses the following:
‘The effects of using an e-learning environment as part of a mixed-mode
studio to enable the design’
Related to my own teaching, the goals of the study are to:
a. clarify characteristics of the design process relevant to the creation of
an artefact in graphic design.
b. explore the distinctive nature of successful e-learning environments
and formulate a model for use in my own classroom that enables the
design process.
c. design, develop and implement e-learning, as part of a mixed-mode
studio environment, which enables the design process.
d. analyse and report on the students’ experience of e-learning as part of
the mixed-mode studio environment.
This chapter reports on the design of the learning intervention based on my
goals. It is acknowledged that independent variables may affect the success

82
of any design in practice, and where possible the contextual variables
potentially impacting on success are also mentioned. These relate to setting,
nature of learners, resources and support for implementation, professional
development, financial requirements and implementation path (Collins et al.,
2004).
4.2 Design of the learning intervention based on goals
Preliminary research as part of data collection, and described in the literature
review, yielded the information I required to meet my initial goals. This not
only led to my understanding of concepts relevant to the design process, but
linked them to a learning environment by describing learning theory and
technology driven pedagogies. The questions I now asked revolved around
the development of a model. How do I tie together concepts I’ve understood
and apply e-learning to the design process in meaningful way?
Sternberg’s (in Plucker, 2004) Triarchic Theory of (Successful) Intelligences
describes how intelligent behaviour in an individual arises from a balance
between creative, analytical and practical abilities. This concept seems to
align itself with the principles of design thinking, divergent thinking aligned
with creative thinking, convergent thinking with analytical and practical
thinking with the making of something new or synthesis.
In the following figure (Figure 8) I have considered this alignment and linked
their development with the principles of behaviourism, cognitivism and
constructivism. Finally I have assigned potential activities of e-learning to the
table.

83
Figure 8: Design process related to summary of themes discussed in the literature
review
4.2.1 Goal:
clarify
characteristics of the design process relevant to the creation of an
artefact in graphic design

84
The development of the previous table enabled me to design a conjectured
design process model that fulfilled my first goal: clarify characteristics of the
design process relevant to the creation of an artefact in graphic design. It also
enabled me to align these characteristics with desirable outcomes in a
learning environment, which I based on my understanding of learning theory.
Again, the model begins with the three successful intelligences according to
Sternberg (in Sternberg and Williams, 1996). These align creative intelligence
with divergent thinking, convergent with analytical thinking and synthesis
aligns with the development of practical thinking.
Figure 9: Conjectured design process model

85
4.2.2 Goal: explore the distinctive nature of successful e-learning
environments and formulate a model for use in my own classroom that
enables the design process
The design of the conjectured design process model has been adapted to
pedagogies supported by technologies. These are discussed and reflected
upon in detail the following section.
Figure 10: A graphic interpretation of the conjectured means of supporting the design
process incorporating e-learning
Powerpoint: presentations
Blackboard:glossary
Blackboard: blog
Blogspot:
External Blog
Blackboard: online quiz
Blackboard:
Private journal
Interactive
crosswords
E-mail
Adobe Pdf:interactive notes
Adobe pdf: Interactive
Blackboard: “Cook book”
E-mail
Blackboard: blog
Blackboard:
Learning modules
Blackboard: discussion
Facebook: Image sharing
and knowledge sharing
Flickr: Image sharing
Adobe pdf
E-mail
Adobe pdf
Flickr: Image sharing
Blackboard: blog
Adobe pdf
e-mail

86
4.2.3 Goal: design, develop and implement e-learning, as part of a
mixed-mode studio environment, which enables the design process
The following section describes and reflects upon how new technologies were
used to implement the conjectured design process model, and is divided into
two sections.
The first section reports on the use of technologies using guidelines described
by Collins et al. (2004:38): a) goals and elements of design, b) settings where
implemented, c) description of phases (if any), d) outcomes found and
lessons learned. Although interventions were implemented at different times,
efforts have been made to present the designs in a logical order.
Technologies used include an internal and external weblog (blog), Flickr,
Blackboard WebCT6 VLE, Adobe Pdf’s, and email. The second section
describes how the various technologies integrated into an assignment or
instructional sequence, as part of the design process.
4.2.3.1 Gluebook - an external weblog
Goals and elements of design
My decision to start a blog occurred early in the Pioneers course. Excited at
the prospect of using technology in my classroom and armed with very little
learning theory, I developed the Gluebook blog using blogspot.com as my
weblog publishing tool. A simple two column template was used, with a
customised header and background inserted.
The goal behind the blog was to provide students with a condensed,
trustworthy and rich source of information on South African design topics of

87
varying interest, and beyond the scope of graphic design. In this way the blog
has been used to publish information that relates to design, but also as
Downes (2004) points out, to steer a student’s approach towards a subject
and generate interest. Additionally attempts are made to create relationships
between seemingly unrelated topics and ‘sew(s) together what is now a lot of
learning with no real connection among the disciplines’ (Richardson in
Downes, 2004:26).
Settings where implemented
All students had all day access to a computer laboratory that contains 28
Apple Macintosh computers. (For further sections and description, unless
otherwise stated, the settings where implemented, as described here, are
applicable).
Description of phases
The blog developed over a period of approximately six months. Phases of
development occurred as my understanding of the blogspot environment
improved. These phases did not affect my goals or content of the blog.
Outcomes and lessons learnt
My first misconception regarding the blog was based on a ‘build it and they
will come’ mentality: that students would find it interesting and automatically
go there. A casual request in the classroom for a show of hands as to who
had visited the blog, revealed otherwise. In an attempt to generate more
interest I introduced showcase posts on current students, in the graphic
design course, who produced exceptional work. This seemed to generate
more interest, and the number of visits rose over the course of the year.

88
Tracking software revealed the site has had 7 500 visitors since its inception
in 2009, but there is no way of knowing exactly who they are.
The difficulties I experienced using the blog involved the following:
• Learning how to use a blog effectively is time consuming. This
involved learning how to use widgets, setting up RSS feeds, tracking,
and understanding how to generate traffic on the blog. Recent
improvements in the way the blogspot site functions has since made
these tasks simpler.
• Searching for information, verifying sources, checking links and re-
sizing images, when creating posts, is time consuming.
• Since the blog was in the public domain, I remained sole author.
Efforts to get students to contribute posts, proved labour intensive as
plagarism was problematic.
The major lesson I have learnt is running an effective, lively blog needs
collaboration in terms of input. To this end, I have invited staff members from
Jewellery and Interior Design departments to submit posts via e-mail or as
draft submissions on the blog. They have agreed to contibute acknowledged
written content, correctly saved images and verified links. There are also
opportunities to include input from other universities.
At the time of writing, the blog was under re-construction. The blog design,
structure and content links are explained in Figures 11 and 12 on the
following pages.

89
Figure 11: Blog posts and sidebar features of blog Gluebook
Customised
header
SIDEBAR
FEATURES
Subscription
to an RSS feed
About us
Links to Agencies
and studios in
South Africa
Links to design
competitions:
local and abroad
Link to the
Graphic Design
Alumni Facebook
account which
features Alumni
news and job
posts in local
Durban studios
Links to past
students’ work
featured in
various sites
including Flickr
1 1
2

90
Figure 12: Blog posts and sidebar features of blog Gluebook
SIDEBAR FEATURES cont.
Link to Flickr site
Links to design e-zines
Links to various other local blogs
[This is a Blogspot widget that
can be inserted into any Blogspot
sidebar]
Blog posts automatically archive
[This is a Blogspot widget that
can be inserted into any Blogspot
sidebar]
News feed featuring design orientated
news from around the world. [This is a
Blogspot widget that can be inserted into
any Blogspot sidebar.]

91
4.2.3.2 Flickr
Flickr is an image hosting website and online community offering two types of
accounts, Free and Pro. I opened a Free account which I intended to use as a
virtual archive for students work, linking to the blog and Blackboard online
classroom. The site allows users to upload 300Mb of images, and a photo
stream enables visitors to see the most recent 200 images. The remaining
uploaded images are still stored on the site and can link to blog posts.
Figure 13: Flickr homepage.
The flickr site features three sets.
‘Play’ features work done by
studentsoutside of their university
environment.
‘Work’ featured student work and
comments on how some of it was
executed.
‘After dark’ features photographs
of students at events, and at final
year exhibitions
The goal behind using flickr was to create a virtual archive of students’ work
that could be referred to when students set standards for their own
performance. Additionally, the idea was for contributing students to provide
short feedback on how the image or artefact was created, enhancing learning.
In this way, it was hoped tacit knowledge could be tranferred through the
students’ experience.
3
3

92
Figure 14: Student uploading Flickr with feedback
Student contribution and feedback potentially
enables other students to learn.
The quote shows:
‘cheated and used the fish eye filter in
photoshop to create thi effect’.
Figure 15: Flickr photostream
Figure 16: Flickr ‘Work’ set
1
4
4

93
Flickr introduced me to the concept of an online community, as people with
similar interests share ideas and comment on one another’s contributions.
The ‘contacts page’ allows for interested parties or persons to request
‘contact’ via e-mail, which means they automatically subscribe to your
photstream, and become part of your community.
Figure 17: Contacts page
Outcomes found and lessons learned.
The difficulties I experienced using flickr involved the following:
• Collecting, re-sizing and uploading images onto the site was time
consuming.
• When setting up the flickr site, I selected myself as author. A later
effort to change the privacy function on the site, allowing students to
log in and upload work themselves, was not possible once the site

94
was active. This meant the site would have to abandoned, and a new
site opened with this option.
• Always presume that students are aware of posts made in an
online environment. Five minutes after posting an example of a past
student’s work, I received an e-mail requesting that I remove the item
as he was not happy with it.
• A structured lesson on how to save images for the web for fast
download time was needed. I also found it necessary to hold a
workshop on how to upload images into Flickr, and how to use the
comment, tagging and set tools.
• Students also need to be aware of how to protect their own work
from plagiarism by saving their work at a lower resolution or using a
watermark.
4.2.3.3 The Blackboard WebCT6 online classroom
My decision to use an online classroom was based purely on exposure to this
environment through a University Online Learning Course. Besides using
PowerPoint, I had no previous experience in using technology to enhance my
lessons, and subsequently, use of the environment was largely exploratory.
Initially I thought the environment would assist me in managing the course by
monitoring the submission of work, for example. It was only through the
development of the design process model (section 4.2.2) I understood the
potential of the online environment to help facilitate the design process.
I used various menu options as part of the Blackboard Content Menu at
different times, some worked as anticipated and others did not suit my needs.

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Subsequently, the following section looks at the design of the Blackboard
WebCT6 online classroom using self-designed instructional material and
Blackboard menu options that best met the objectives of the study.
All students had all day access to a computer laboratory that contains 28
Apple Macintosh computers. (For further sections and description, unless
otherwise stated, the settings where implemented, as described here, are
applicable).
The following sections describe the goals and elements of design behind the
development and use of the Blackboard VLE homepage, media library tool,
weblink tool, discussion tool and assessment tool. In some instances, where
relevant, I have mentioned the outcomes and lessons learnt.
The Blackboard VLE homepage
After logging into the system students are confronted with the classroom
homepage (Figure 18) which sets the tone for the content. The graphics
describe the fundamental purpose of the learning environment, namely to
‘talk’, ‘learn’, ‘go!’ and ‘info’.
The built in Blackboard course tools rendered ‘visible’, and used in the
content menu, include Learning Modules, Media Library, Web Links, Chat,
and Discussions. There are two customised external links including the
Gluebook blog and a link to Flickr. A customised internal link, Designers
Cookbook, takes one to an online learning resource. Information centered on
the screen means no scrolling is required to view the page.

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Figure 18: Screen shot of the online classroom homepage
Blackboard menu options, plus customised links which features Cookbook
as an internal link, and Flickr plus Gluebook as customised external links.
The homepage sets the tone for the classroom and works around
‘talk’, ‘learn’, ‘go!’ and ‘info’ and describes what students can expect from the classroom.
I attempted to apply the principles of experiential design throughout the
construction of the classroom. Visual consistency is achieved by using the
same colours, fonts and image type throughout. A header is visible on the
classroom homepage, and is used repeatedly throughout the Designers
Cookbook. The header is also visible in ‘learning modules’ but appears in a
different colour to help signify the different between learning sections and
assignment sections.
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Figure 19: Top bar of with pictures of students creates student presence
The colours that appear consistently throughout the classroom are web safe.
Figure 20: Web safe colours used in design of classroom
The legible, web safe typeface, Trebuchet MS is used throughout, with Bold
and Italic versions applied to headings and when emphasis is needed.
Consultation with a small group of students revealed that 14 point was the
preferred font size for body copy in terms of legibility. One student
commented the ‘larger font makes it look as though there is less to read’
(2010: pers. comm.).
Figure 21: Trebuchet font. (Zoepke, 2011)
Media library tool
The goal behind using the Media Library tool was to create a glossary of
terms that supported the building of a visual vocabulary. All terms used in
PowerPoint presentations as part of an instructional lecture, are saved here

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for later reference. Where possible, the same images or examples used in the
lectures are included.
Figure 22: Screen shot of the Media Library tool used as a glossary
Clicking on the term opens the description of meaning and features visual examples.
As implemented in the Cookbook, key points are highlighted in red and in a larger point size to
accommodate scanning.
Learning Modules tool
The motivation behind using the Learning Module tool was twofold. Firstly I
wished to provide students with their briefs or assessment tasks linking
relevant, just-in-time information and examples. Secondly, in my experience,
students often lost printed briefs or failed to take comprehension notes on
verbal briefs, which meant I needed to repeat information on a regular basis.
Using the online environment was a bonus as it encouraged students to
become more independent and not rely on me for information.
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Initially briefs were designed using Frontline web design software, and later
Expressions Web. When designing the briefs, I adhered to a strict three
column grid to create order, and visual noise was avoided.
Personally, the biggest bonus in using an online environment to present briefs
was student independence. Any requests for information regarding ‘what do
we need to do?’, ‘when is it due?’, ‘can we do this?’ were now met with ‘read
the brief online, and then you are welcome to discuss it with me’.
The disadvantages of using an online environment to present briefs include
the following:
The development of the brief using html software is time-consuming and
requires previous knowledge in web-design software.
• Uploading the document onto the VLE requires good Internet
connections.
• Internet speeds limit the types of information that can potentially
link to the document. For example, an instructional video or
animation takes too long to download.

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Figure 23: Screen shot of assessment task in Learning Modules.
The built in advance organiser is used to structure the learning process.
The assignment specifics are outlined in terms of what needs to be completed, deadlines, and
assessment criteria. Students are prompted in terms of what was learnt and what now needs to be
demonstrated as part of their learning.
External hyperlinks are filtered and take students directly to task specific information that supports the
problem solution. Some links offer explicit knowledge and others ‘how to’ tacit knowledge.
A link to Flickr shows examples of previous students’ work.
Web Links tool
The objective of the web link tool was to create an online repository for web
links that students found interesting and relevant, with each link filed under a
relevant section, for example Illustration, History or Design. Initially it was
difficult to get students to contribute voluntarily, and as a result I implemented
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a compulsory contribution as part of their introduction to the online classroom.
Students were instructed to visit the site of their choice, describe it and link it.
Although the Web Links tool works simply and efficiently, I found students
were not only reluctant to contribute, but tracking revealed they rarely used
the links posted. I have subsequently implemented the use of the
bookmarking site Diigo, which was met with enthusiasm. Diigo allows
students to create private or public website collections of personal preference.
It is also easier and more convenient to use.
Discussion tool
The Blackboard VLE allows for three types of discussion to occur: Blog,
Discussion or Journal. In my online classroom I experimented with the Blog,
Threaded Discussion and Private Journal options.
The motivation behind using the Blog tool was to promote student-student
interaction, and help develop a sense of community, as students worked
together to make sense of their prescribed topic. At the same time it allowed
for self-expression in a safe environment, and exposed learners’ attitudes and
beliefs towards a topic as they attempted to solve their design problem.
Downes (2004) mentions how blogging also creates equity in a classroom, by
allowing the quiet students to have a writing space to voice their opinion.
I experimented with the Discussion tool in a different way, as part of reflection
in practice. Based on what they had learned, students were required to
comment on what they needed to think about before they shot a photograph

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for a magazine article. Their comments also signalled their state of
understanding relevant to the task.
The Journal tool was used as a private conversation tool between students
and myself. The main objective was to commit students to reflect, mid-year,
on their strengths, weaknesses and opportunities for improving their
performance.
The Blog and Discussion tools were used during an assessment task or brief
requiring students to write a short article on tattoos and why people have
them. They also needed to interview someone with a tattoo. The subsequent
article and a photograph, styled and shot by the students, were incorporated
into the design of a double page spread for a magazine.
The theme of the Blog was ‘The history of tattoos and why you think people
get them!’ Each student was required to post, and then comment on a post.
Contributions debated the history of tattoos, why people get them, the types
available, how to remove tattoos, personal meaning and tattoos, and whether
or not having one would jeopardise chances of getting a job. The question of
religion and tattoos was raised, as well as freedom of choice (see Appendix
5).
What impressed me during the debate was the enthusiasm students showed,
and the strength of their arguments which included referencing and links to
relevant sites. They also demonstrated tolerance for others opinions and
expressed their own in an appropriate manner [all spelling as appears on the
blog has been retained for purposes of authenticity]:

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‘Tattoos from my knowledge were used by the japanese people for cultural reasons and in
some societies they were used for marking prisoners.’
‘From my knowledge and form what ive read form the bible is says... the first tatoo was
marked on Cain by God so people can see that he was punished by him for killing his own
Brother.’
‘For those who don't yet know im christian and from the other coments I didn't see any
indepth religious views so I found a interesting article,is a bit long but interesting...’
‘interesting feedback so far... personally i think the time of getting a tattoo as an act of
rebellion has passed, they are becoming more and more accepted and have lost their
taboo...’
‘I interviewed the owner of Eagles Tattoo Parlour and he said that tattoos on men are a show
of force and strength as when males engage in battle with one and other the first thing
noticed is the rolling up of sleeves hence showing their tattoos... their own mark of
strength.... he said that this trend started with the aborigines!’
‘I've seen that some people get a tattoo to cover up a scar, either to feel better about getting
through a rough time or to symbolise their new found 'life' or 'strength'. The one guy i
interviewed had an Ace of Spaces card tattooed on his wrist to mark the fact that it had
saved his life. In a true life story i watched on tv, called "Why I Wore Lipstick to My
Mastectomy", the lady had recovered from breast cancer and to symbolise her journey and
recovery, she had a rose tattooed over.’
‘i had a chat with client from skin trade tattoos and was under the impression that some time
ago an 8000 year old mummy was found with tattooed markings on his back. experts believe
they had both religious and medicinal significance. very cool.’
‘Not sure if this will help. But the conversation is interesting! Go to
http://jeffsotoart.blogspot.com/ to find out why Jeff gets tattoos! Go to his post
called 'Tattoo post'. Brilliant tattoos...if you're into that sort of thing!’
Although the Threaded Discussion got very ‘messy’, with multiple threads
repeating similar themes by different students, the conversational activity was
vibrant and meaningful (see Appendix 6).
‘Before taking a picture i have to consider the amount of light in relation with my object, the
angle and rule of thirds. These are the common basics one has remember when taking a
picture.
‘Playing around and taking shots at different angles can give good pix,during a shot one
should try by all means not to move.’
‘Iv learnt that you should'nt take one picture and think it will work. You should really play
around more and you'll realise that you'll have better pictures than the one you decided on.’

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‘every picture has its story. Weather it is of high quality contrast in a black and white photo or
a nice sepia photo, who says we need colour all the time. Dont get me wrong full colour
works but why not play around a bit " i'll rather play around and get it wrong a few times and
be different"
‘anyone can take a photo of a guy sporting his chops, its the composition and lighting that
capture the atmosphere and the mood of the photo....what do you want the atmosphere to
be?? will you use hard contrasting light, back lighting or a soft light to create the right mood?’
‘Composition and light play a huge role in determining if your subject is dark and mysterious
or dramatic or lomo or "as it is" or fun or comical or friendly or with attitude or theatrical or
typical or original or just plain normal. So it really depends on what kind of feel i'll be giving to
my layout and article as to what kind of photo's will be produced...’
‘We all know that good things in life often happen by mistake. Photography is no different.
Often the best pictures taken are those that are an "accident".’
The Private Journal tool worked technically, but students were reluctant to
post. Previous attempts at reflection on practice were hand written, and
students seemed more comfortable expressing themselves, in a private
capacity, in this way.
The Assessment tool
The Assessment tool was used as a means of providing feedback to
students, signalling their state of understanding of explicit knowledge. The
Assessment tool as a link in the Blackboard contents bar was hidden from the
students’ view, and the assessments built into the Learning Module using the
advance organiser.

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Figure 24: Brief in Learning Module using the advance organiser to link to online test.
No marks were awarded for completing the online test, and students could
redo the test any number times.
The types of questions used included true/false, multiple choice, fill in the
blank and matching question to answer (the following figures depict each type
of question).
Figure 25: Example of a true /false type question in online test

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Figure 26: Example of a multiple choice type question in online test
Figure 27: Example of a matching type question in online test
Students were also able to check their answers against a rubric which
indicated the correct answer and I provided feedback on incorrect answers
using simulative interactivity.

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Figure 28: Example of answers to quiz question with feedback
A second self-test option using Eclipse Crossword was uploaded into the
Learning Module. Students could change the crossword answers, and redo
the crossword if they chose to do so.
Figure 29: A simple example of an interactive crossword puzzle using Eclipse

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Students seemed to enjoy the online test and in particular the crossword
puzzle. Some students repeated the online test after re-reading the
Cookbook.
4.2.3.4 The Designers Cookbook
The instructional material featured in the Designers Cookbook was created as
a separate learning object, using the web design software Microsoft
Expressions Web.
The aim of the book is to build explicit knowledge, visual vocabulary, and
provide a rich source of just-in-time information. This material is usable in two
ways: students can visit the information at their leisure using the created link
on the menu or homepage making it is learner- selectable. Alternatively,
pages of the Cookbook can be included as part of a Learning Module. By
using the design problem or brief to inform the type of information needed, I
can provide links to specific and relevant sections of the Cookbook.
The Designers Cookbook uses cooking as a metaphor to explain how design
fundamentals or ‘elements of design’ are similar to ‘ingredients’. As in
cooking, different combinations of ingredients give you different outcomes.
Here the ‘principles of design’ are called ‘recipes’.

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Figure 30: Screen shot of The Designers Cookbook, Homepage
Link in Course Content to Cookbook
The Designers Cookbook home page with hyperlink to ‘ingredients’ or design elements
homepage and ‘recipes’ or design principles
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Figure 31: Screen shot of The Designer Cookbook, Contents page
The analogy of a cookbook is used, suggesting design elements are the basic
ingredients of any visual communication blended together in a creative way
Hyperlink to ‘ingredients’ or elements of design, including Point,
Line, Texture, Shape, Colour and Value
Hyperlink back to Contents page.
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Figure 32: Shape homepage with screen shots of three hyperlinked pages from The
Designers Cookbook
Contents page with hyperlinks to each page
of
section.
Navigation to move forward or back one
page.
Information is chunked, with key points
highlighted in red and a larger point size, to
accommodate scanning.
Concepts are contextualised across
disciplines to encourage transfer.
Thumbnails serve as hyperlinks to larger
examples. The thumbnail image shows part
of the large image and not a miniature
version of the entire picture.
Deep hyperlink to external site. Opens in
new browser window, and information is
content specific.
Links expand on explicit knowledge or build
tactic knowledge.
1
1
1
1
1
1
1
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The Designers Cookbook was developed over the course of a year since it
required knowledge of html or a web design program. As designer and
developer this meant I was responsible for implementing the design and
uploading it onto the classroom. The phases of the design were therefore
limited to this knowledge and as this increased, the design was adapted. The
software program Frontpage was used to create this phase.
My initial concept behind providing student with explicit knowledge involved a
hyperlink to a design elements page. This in turn linked to various topics
which presented as a single web-page requiring scrolling down to view the
information. The following figures graphically show what was achieved.
Figure 33: Phase one: Elements of design homepage
Figure 34: Phase one: Colour homepage and content

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I realised early on the design of this layout presented problems in terms of the
user experience. Visually, I felt the viewer was presented with too much
information at one time, and chunking of information was difficult. This was
confirmed when I asked a student for feedback and they exclaimed: “it’s too
much to read!”. The amount of information presented also required scrolling
down too far.
Outcomes and lessons learnt
The outcomes and lessons learnt during the development of the Designers
Cookbook include the following:
The design of the online Designers Cookbook requires knowledge of an html
or web design programme which took time to learn. Designing in this way
means corrections made to the environment requires re-design and re-
uploading. This is tedious and time consuming.
Hyperlinks to sites on the Web change over time. This means that links are
broken and need repairing. In future I will refer to designers and their work,
but exclude links to their sites. These can be included in the briefs if
necessary.
4.2.3.5 The use of Adobe Portable Document Format (pdf)
The goal behind using Adobe pdf was twofold: it was used as a means to
present assignments or explicit knowledge, and also for self- evaluation and
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The motivation behind using pdf’s for content, was based on slow upload and
download times of large files or documents presented in the Blackboard
environment. This was especially true when these files included video
footage. Adobe InDesign was used to generate rich sources of information by
linking video files which support written information, and by playing these
inside the document.
Figure 35: Adobe pdf with video link playing inside the document
Video playing inside document
The link descriptor describes what the video that will load
Pdf’s were also were used to stimulate students’ meta-cognitive processes,
by focussing on analysis and reflection in a number of ways.
Firstly, students were encouraged to make choices regarding their work. In
the subject of photography for example, numerous images are taken as
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potential solutions to the brief, and students are required to select work for
submission, referring to the assessment criteria as a guide.
Another mode is that, working in groups, they are required to discuss their
selections and to explain and defend their decisions to one another. Finally,
using the Sticky Note tool in Adobe Pro, they validate their choices using the
visual vocabulary acquired through explicit knowledge presented as part of
the assignment. Students are also encouraged to identify weaknesses in their
work, recognising what they know or do not know.
Figure 36: Students using Sticky Note in Adobe pdf, to analyse and reflect on work
The saved documents, using the ‘smallest file’ option in Adobe Pro are then
emailed to me. The Sticky Note tool allows me to post feedback on
comments, and these emailed back to the student. Marks awarded as part of

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process are based strictly on the students’ ability to reflect on their work.
Students are also encouraged to put what they learned into practice by
correcting work or repeating the assignment.
Figure 37: Using Sticky Note in Adobe pdf, to provide feedback
Outcomes and lessons learned
The outcomes and lessons learned using pdf’s were numerous. The use of
pdf as a reflection and analysis tool had a number of benefits. It enabled
students to develop their analytical skills, the use of their visual vocabulary
and signalled their state of understanding regarding the topic.
The use of pdf and email proved useful as a management tool, as it was easy
to keep track of student submissions, and students no longer had an excuse
regarding timely submission of work. It also provided opportunities to give

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immediate feedback when I was not available, outside of class time. Some
students also made use of Google Chat which enabled me to provide live
feedback, while referring to emailed work.
Figure 38: Using Google Chat to provide live feedback
4.2.3.6 Integration of technologies used into a potential work-flow
As mentioned, the previous sections describe and reflect upon how new
technologies were used to implement the conjectured design process model.
This included the use of an external weblog, Flickr, Blackboard WebCT6, and
Adobe pdf’s. The following diagram represents a potential workflow,

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integrating the previously discussed technologies and using the conjectured
design process model as reference.
The core concepts of design thinking were used as a starting point and are
represented in yellow. These concepts are aligned with activities using the
technologies described in the previous sections.

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Figure 39: Potential work-flow, integrating the previously discussed technologies and
using the conjectured design process model as reference
FACEBOOK
Feedback/share
Choose, Share, Feedback
FLICKR
Share/ Feedback
Choose, Share, Feedback
DISCUSSION TOOL
Discussion or blog
ojournal
Apply, Share, Undertand, Collaborate
MEDIA LIBRARY
Remind yourself!
Understand, Know
FLICKR
Set standards for work
Student examples
Analyse, Understand
EXTERNAL LINKS
Professional advice
Understand, Apply
LEARNING MODULE
Brief
Theory, Understand
ASSESSMENT TOOL
Test yourself!
Theory, Test, Understand
EXTERNAL LINKS
Tacit knowledge
Understand, Apply
DESIGN COOKBOOK
Explicit knowledge
Theory, Understand
BRIEF
Assessment task
E-MAIL
Feedback: summative
Measure
Discuss, Feedback, Fail
PDF
Submit artifacts
Apply, Change, Practice
E-MAIL
Feedback: formative
LECTURE
Knowledge
Explicit knowledge
MAKE
Create artefacts
SELECT & SUBMIT
Artefacts
REVISE & SUBMIT
Artefacts Core concepts of design thinking
applied during design process
Activities using Blackboard tools
aligned with core concepts of
design process model
External links via Blackboard
Activities using other
technologies aligned with core
concepts of design process
model

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4.2.4 Goal: analyse and report on the students’ experience of e-learning
as part of the mixed-mode studio environment
The following tables were created using a qualitative, grounded theory
approach, to analyse the transcripts from the focus group and relevant digital
content. Open coding, using line-by-line analysis, was used to identify
common concepts in the text. These concepts were then grouped into
categories and sub-categories for presentation.
Based on the focus group comments, five broad themes or categories were
identified, namely: a) community of practice or creative ecosystem, b)
assessment, c) learning style, d) meta cognition and e) learner-centred
environment. Sub-categories or concepts found in the text were linked to
each category. These described the students’ experience relative to
characteristics of a successful e-learning environment as discussed in the
literature review.
Community of practice or creative ecosystem
The analysis of this category highlighted ten concepts relevant to the
students’ experience: interaction, feedback, motivation, knowledge, reflection,
co-operation, connectivity, recognition and competition.

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Table 11: Analysis of focus group transcripts: Category: Community of practice or
creative ecosystem
Student comments Concepts Category
[feedback] gives you so much more confidence and then
some people will put work that they’ve done at home
and then you can look at it and it can inspire you to do
much more
Interaction
Feedback
Collaboration
Motivation
Community of
practice
‘Groups of people who
share a concern or a
passion for something
they do and learn how to
do better as they interact
regularly’
(Wenger, 2006:1)
Creative ecosystem
‘Because creative people
tend to be curious and
active, their ecosystems
need to provide them
with encouragement and
opportunities for playful
task engagement. These
opportunities sustain
their intrinsic motivation
towards their work’
(Conti and Amabile,
1999: 258)
Cont….
…it’s nice cause you’re visually seeing and interacting
with your other students
Student-student
Interaction
…[Facebook] and they can give you feedback and you
can like communicate with them
Interaction
Feedback
…[Facebook] when you see your classmates’ work
…you get so exposed to other peoples designs and
that’s when you grow
Collaboration
Reflection
Motivation
…[Facebook] and then you understand why…your…that
things that you do in class are so…why you getting
50’s,…..and that’s why you’re not getting 80’s…that’s
why you also understand you get a broader mind
Reflection
Motivation
Explicit
knowledge
…and then someone put on there…’Guys I need your
help, this is not working, what would you recommend’
and then people would be able to just log in, comment,
go out, have it always on you know…
Collaboration
Cooperation
…I think it would be nice if we ... have a blog that we
could all go to and interact with and maybe briefs were
put on the blog more of an interactive that we could all
comment
Interaction
Collaboration
…[about a blog] we wanted to start a conversation about
different works, similar to how Facebook is…I mean that
generates a lot of discussion but more of the academic
thing rather than just a fun…
Interaction
Explicit
knowledge
Tacit knowledge
…like rather actually try and help each other Cooperation
…get your work out there and start showing people and
that’s the only way to start linking up with people with the
same, the same sort of ideas..
Connectivity
…Facebook is amazing for just contacting people…and
if you have connections or people in other places that
are doing similar things then it’s also start connecting to
a bigger sort of area or people in the same field
Connectivity
Domain
…[Facebook] when they see my work they get
interested and that promotes me as a graphic designer
Connectivity
…[Facebook] so it opens a lot of connection doors Connectivity
…there’s a big benefit to having a sort of digital portfolio,
so all your work that you do and have it online
Connectivity

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…promoting them to get all their stuff as a digitial
portfolio…so they, they’re exposed to a much broader
area as opposed to just their classroom
Recognition
Connectivity
Community of
practice
‘Groups of people who
share a concern or a
passion for something
they do and learn how to
do better as they interact
regularly’
(Wenger, 2006:1)
Creative ecosystem
‘Because creative people
tend to be curious and
active, their ecosystems
need to provide them
with encouragement and
opportunities for playful
task engagement. These
opportunities sustain
their intrinsic motivation
towards their work’
(Conti and Amabile,
1999: 258)
…it’s like one of those…a snowball effect; the more
people are going and commenting, the more other
people are gonna want to have their stuff there and then
it’s like once it’s set up and once it’s running, then it’s
really good…
Connectivity
Interaction
…I think on a board is not a good idea ‘cause you won’t
be able to get feedback… you just see and say..’Oh, it’s
nice’
Recognition
Interaction
…and then you can have a thousand people check your
work that you’re putting out…
Recognition
…and on a blog…don’t limit it to school [comments]
Recognition
Interaction
…where I see somebody’s work and I’m like… I want to
explore it more
Motivation
Competition
…even if my. ..illustration wasn’t the best; but because
of the comments that are on the blog of my other work,
then you get to know like what’s your strong point…
Recognition
Motivation
...seeing that other people are doing other stuff and
learning fast and producing really good stuff…like that
promotes you to do your own stuff on the side…
Motivation
Competition
…[recognition using a board] it’s just that you need a
balance between all of them so
Face-to-face
…we use technology to collaborate people…I’ve already
skyped with a guy in Lithuania…
Connectivity
Interaction
…we end up looking at other people’s work for
inspiration when we are actually inspiring, can inspire
other people as well
Connectivity
…I think that with Skype as well I can encourage people.
Cooperation

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Community of practice or creative ecosystem
A recurring theme was interaction with fellow students in a common space,
either Facebook, via cellphone or on a blog which proved the most popular.
Words associated with interaction included ‘visually seeing’, ‘communicate’,
‘feedback’, ‘comment’ and ‘conversation’ and ‘inspire’. The term ‘interaction’
was also used.
• [Facebook] and they can give you feedback and you can like
communicate with them
• there’s a BBM group. That’s awesome
• [about a blog] we wanted to start a conversation about different
works, similar to how Facebook is
0

2

4

6

8

10

12

Frequency

Concepts

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Analysis revealed the need for recognition on a number of levels, firstly, on a
local level amongst their peers, both physically and virtually, and secondly, on
the World Wide Web:
• promoting them to get all their stuff as a digitial portfolio…so they,
they’re exposed to a much broader area as opposed to just their
classroom
• I think on a board is not a good idea ‘cause you won’t be able to
get feedback… you just see and say..’Oh, it’s nice
• and then you can have a thousand people check your work …out
• and on a blog…don’t limit it to school [comments]
• because of the comments that are on the blog of my other work,
[then] you get to know like what’s your strong point
The concepts ‘confidence’ and ‘communicate’ were linked to feedback
through commenting in a social networking environment.
Students hinted at the need for an environment that fostered competition:
‘when I see somebody’s’ work and I’m like…I want to explore it more’, and
‘seeing other people doing stuff …like that promotes you to do your own stuff
on the side’. In both instances, the ‘competition’ concept coupled with the
concept of ‘motivation’.
Assessment
The analysis of this category highlighted four major concepts relevant to the
students’ experience: feedback, interaction, knowledge and
motivation/engagement.

125
Table 12: Analysis of focus group transcripts: Category: Assessment
Student comments Sub-category Category
…I found myself…I mean that anytime that I just e-mail
you at certain time of the day and then get the e-mail
back and that like immediate feedback so I can get
onto it instead of having to wait until I come to tech
Feedback
Control
Student-staff
interaction
Assessment
Constructivist
assessment-centred
environments revolve
around providing
feedback and
opportunities for
improvement, relevant
to a set of goals
(Bransford et al.,
2003)
Jonassen (1999)
recommends an
assessment strategy
where demonstration
of knowledge
acquisition or products
form only part of the
assessment, and that
process should also
be evaluated.
…it helps a lot, like of course it does cause you can
send a picture to someone and then get feedback point
by point, ummm…you know, and thats interaction
Feedback
Interaction
…then when it gets to the blog you get critted by your
classmates and even the lecturers if they are in the
blog…
Feedback
Community
…so it’s encouraging with the internet, where…we get
pdf’s and…get encouraged and, and not live for the
mark but live to be good designers and explore but it’s
not about marks at the end of the day…
Feedback
Student-staff
interaction
Motivation
…you need everyone’s opinion; you need everyone’s
opinion because everyone thinks differently; people
like different things
Feedback
… you get more honesty from a stranger than
someone you know
Feedback
…if I’ve got mine [work] on Facebook...you get such
awesome feedback
Feedback
Recognition
…[online quiz] you can do uh…like a questionnaire to
see whether you understand what you’ve read so I
thought it was quite useful…
Knowledge
….[the quiz] it forced you..it actually forced you to not
read but understand
Knowledge
…when you are forced to actually answer questions
that we should know, and then you realise you don’t, it
forces you to go back and then when you go back and
read it again, you reading it with a whole new frame of
mind
Motivation
Knowledge
….[online test] little test things that you can so,
definitely helps a lot than just giving us a
document…cause it’ boring really
Motivation
Engagement
…[online quiz] you actually know about it cause you’ve
understood it
Knowledge
[online quiz] …Once you understand it, you’ll
remember it
Knowledge

126
……doing the crossword puzzle it made me
understand because they gave a definition then you
had took for the word: once you remember that it’s
always going to stay in your mind
Knowledge
….[the crossword] and it was fun…it was different
Engagement
Curiosity
…I didn’t think I’d learn doing a crossword puzzle but it
helped so much; cause then you know what it is and
then you sit there and like, well I’ve read through
everything, now what could it be and it forces you to
stimulate and then you get going again.
Engagement
Knowledge
Flow
Curiosity
…[the crossword] you want to finish it as well; very
involved…it’s a crossword you don’t leave a
crossword…you have to finish this thing…you must
finish it.
Knowledge
Flow
Engagement
Challenge
Assessment
The online testing of tacit knowledge in the form of an online quiz or
crossword puzzle was favourably received and described as ‘useful’ and
0

1

2

3

4

5

6

7

8

Frequency

Concepts

127
helpful through ‘helps’ or ‘helped’. The major observation, through analysis,
was that both activities promoted understanding.
• it actually forced you to not read but understand
• it forces you to go back and then when you go back and read it
again, you reading it with a whole new frame of mind
• once you understand it, you’ll remember it
• doing the crossword puzzle it made me understand because they
gave a definition then you had took for the word: once you remember
that it’s always going to stay in your mind
• you actually know about it cause you’ve understood it
The concept of knowledge and understanding coupled with words that
suggested students were actively engaged in learning, and included
‘involved’, stimulate’, ‘fun’, ‘different’ and ‘useful’. The phrase ‘you were forced
to‘ appeared frequently.
The advantages of using email to provide electronic feedback was associated
with the words ‘anytime’, ‘immediate’, ‘interaction’ and ‘encouraging’.
Feedback from peers and strangers on the World Wide Web was favourable
and expressed as ‘awesome’, ‘honest’, and broad: ‘you need everyone’s
opinion’.
Comments suggested the Internet provided opportunities for student-staff
interaction.
• immediate feedback so I can get onto it instead of having to wait
until I come to tech

128
• get feedback point by point, ummm…you know, and thats
interaction
• we get pdf’s (via email) and…get encouraged
Learning style
The analysis of this category highlighted four repeating concepts relevant to
the students’ experience: user experience or usability, control, the need for
visual material and interactivity.
Table 13: Analysis of focus group transcripts: Category: Learning style
Student comments Concepts Category
…in the brief you’ve got a hyperlink, or whatever to websites
where you can actually see…so then you have like quite a
good understanding of something before you even approach
the project
Interactive
Control
Visual
Learning style
‘How a learner perceives,
interacts with, and responds
to the learning environment’
(Ally, 2004:14)
Cognitive style or learning
style is the learners
preferred way of thinking,
remembering or problem
solving.
(Ally, 2004)
…also surrounding projects that we do…into different areas
or different ways of applying that style, of different stuff like
that and then in the brief you’ve got a hyperlink where you
can actually see um…those processes
Interactive
Control
Visual
…because its visual and you can see what’s happening Visual
…and having links to go to and having pictures rather than
just a written brief
Interactive
Visual
…the links is a good thing Interactive
…that for the cookbooks like on line it’s much easier and
interactive
Interactive
Usability
…like when you go to it’ cause if you look at a book you get
bored with the book and you wasn’t to just put it to the side
– but the internet, obviously you want to go in and look at
this, and you look at that…
Curiosity
…[pdf] It’s there, so you know I can go back and refer to my
notes – I find it easier
Control
Usability

129
…. Cause it’s on the site…it’s on the computer but if you
hand out the sheets, I mean the thing 20 minutes it’s gone
Usability
Cont….
Learning style
‘How a learner perceives,
interacts with, and responds
to the learning environment’
(Ally, 2004:14)
Cognitive style or learning
style is the learners
preferred way of thinking,
remembering or problem
solving.
(Ally, 2004)
…You can get it anywhere as well…
Usability
Control
…I found it quite useful because all the information is
summarised
Usability
Chunking
information
…. I found it helped me a lot because you can watch it over
and over again
Control
Visual
….[cookbook] when you had the time to sit and actually read
everything, it was very helpful
Usability
…the notes were very helpful…cause the ones that were on
pdf; I found reading from the pdf much easier from than
using the internet cause when you use the internet you have
to wait to log in where with the pdf you just click on the next
page and he next page comes
Usability
…[pdf notes] it’s just with that kind of stuff I reckon just like
as ….much imagery as you can find
Visual
…I learn a lot like when I’m watching videos, I learn the
most from that
Visual
…[I learn} even tutorials on the internet when someone’s
talking to you and you’re watching
Visual
…[pdf notes] it’s just with that kind of stuff I reckon just like
as much imagery as you can find
…I learn a lot like when I’m watching videos, I learn the
most from that
Visual
…[I learn} even tutorials on the internet when someone’s
talking to you and you’re watching
Visual

130
Learning style
User experience was positive as students described the e-learning materials
as ‘helpful’, ‘easier’ and ‘useful’. Negative comments revolved around use of
the internet, ‘[pdf’s] much easier than using the internet’, and ‘when you use
the internet [online classroom] you have to wait to log in’.
Students indicated the e-learning materials gave them control over their
learning:
• [hyperlinks] you can actually see…then you have a good
understanding of something before you approach the subject
• you can actually see
• I can go back and refer to my notes… I find it easier
• You can get it anywhere
• you can watch it over and over
0

2

4

6

8

10

Frequency

Concepts

131
The need for visual material in terms of image and video came across
strongly through the use of ‘where you can see’, ‘you can watch it’ and ‘as
much imagery as you can’. Students also said:
• I learn the most from videos
• when I’m watching videos, I learn the most
• [tutorials on internet] when someone’s talking to you and you’re
watching
Interactivity and the use of the Internet to direct students to task specific
information via hyperlinks was viewed favorably. Words associated with
hyperlinks included ‘see’, ’understand’, ’easier’ and ‘good’.
Meta-acognition
The analysis of this category highlighted five concepts relevant to the
students’ experience: reflection, self evaluation, analyse, practice and
recognition.

132
Table 14: Analysis of focus group transcripts: Category: Meta-cognition
…[a blog] it’s really good cause you can like really develop doing
that…some people write a diary it’s just their way of developing
Reflection
Practice
Meta-cognition
Called “thinking
about thinking’ and
focuses on the
process of problem
solving. (Downing et
al. 2007: 27)
….on our blog I think it would be better if we all learnt how to do
that…I mean if we could all….encouraged to put our stuff on
there and write about our own work
Reflection
…[pdf] that if our work is good enough you should be able to
know if it’s good or not, to be able to judge your standard we
should …like how we’ve been marking our own work; I know it
helped a lot because you know, and also having to be criticised
Reflection
Self-evaluation
Analyse
Feedback
…[pdf] we need to learn which is good and to be able to accept
the fact that ok, my work isn’t up to standard… ’cause I think if
you know your mistakes you can completely better yourself on
it…
Reflection
Analyse
Practice
Self-evaluation
…and also for us to have to really think about our work because
before I e-mail, I’m having to write about my photographs, so
then I’ll be saying…telling you what I think is good about
them...it’s forcing me to look at it and judge for myself…
Reflection
Analyse
…[pdf] it actually makes you look at your work at what’s weak,
what’s strong and then kinda get to what you wanna do if
something’s wrong you just wanna take off more pictures…
Reflection
Analyse
Practice
…but now with the blog you get people who say it’s good and
some say it’s not good but then you weigh up their opinions and
therefore you feel more confident
Self-evaluation
Reflection
Recognition
…[blogging] would really help because at, at the same time you
have to crit yourself as an individual before you even put up your
work to a blog…
Reflection
Self-evaluation
Analyse
…[comments] first of all you’re going to have a sense obviously
to know if it’s good advice or bad advice
Analyse
…don’t think South Africa,…so knowing somebody else from a
different world, allows you to kind of step out of your world and
kind of look at it and say hey…’Wait a minute’..maybe…
Feedback
Analyse
Interaction
….technology in general helps us to see our design like, from an
outside point of view…you know, and you get to..then criticize
our own work, like better…if we can see…if we can put it out
there and then see it from a different perspective
Feedback
Recognition

133
Meta-cognition
Analysis described anenvironment that encouraged problem solving through
pdfs and email by fostering reflection and analysis plus the drawing of
conclusions from that analysis.
• if our work is good enough you should be able to know if it’s good
or not, to be able to judge your standard
• we need to learn which is good and to be able to accept the fact
that ok, my work isn’t up to standard
• it’s forcing me to look at it and judge for myself…
• it actually makes you look at your work at what’s weak, what’s
strong
Analysis suggested this process allowed students to put what was learned
into practice, indicated by ‘you can better yourself’ and ‘what you wanna do if
something’s wrong’.
0

1

2

3

4

5

6

7

8

Frequency

Concepts

134
Students expressed the desire to keep a thinking journal in the form of a blog,
which allowed for reflection but also interaction and feedback via the World
Wide Web.
Words associated with blogging included ‘write about’, ‘crit yourself’, ‘different
world’ or ‘out of your world’ and ‘outside point of view’. The data suggested
that critique via blogging encouraged the analysis of the validity of feedback.
• first of all you’re going to have a sense obviously to know if it’s
good advice or bad advice
• you get people who say it’s good and some say it’s not good but
then you weigh up their opinions
Student centred environment
The final category highlighted a single concept relevant to the students’
experience. It was suggested the concept of a learner-centred environment
was needed when adopting technology as part of learning, by paying careful
attention to the skills individual students brought to the classroom.
Phrases associated with the adoption of technology as part of learning
included ‘we need to take it slow’, ‘technology is huge’, ‘the class gets treated
as a whole’. Words that described one students’ attitude towards technology
included ‘fear’, ‘vast’ and intimidating’.

135
Table 15: Analysis of focus group transcript represented as a bar chart: Category:
Learner- centred environment
…we need to take it slow for some people haven’t touched
a computer in their lives
Explicit
knowledge Learner-centred
environment
‘…pay careful attention to
the knowledge, skills,
attitudes, and beliefs that
learners bring to the
educational setting’
(Bransford etal.,
2003:133)
……like a major issue I think is that hmmmm…you know,
that the class gets treated as a whole…like you know,
there’s, there’s no room for individuals
Explicit
knowledge
…technology is huge and we must be taught not to fear it
‘cause it’s so vast; you know where to start; it’s intimidating
Explicit
knowledge
…I think it should be introduced [technology]..I mean we all
come from different schools
Explicit
knowledge

137
5.1 Background
This dissertation set out to examine new ways of teaching and assessing
second year graphic design students in a studio-based environment. The
overall aim as described in Chapter one, was to explore the use of technology
to enable the design process in a way that prompted students to think.
Secondly, but also importantly, I wanted to know whether e-learning, which is
not normally associated with studio-based learning environments, could be
used to facilitate the learning process. In this final chapter I present a bird’s
eye view of what I did, and reflect on what I understood as a result.
5.2 A bird’s eye view
The first objective of the study was to understand what design process meant
within the context of a studio-based learning environment. The literature
review in Chapter two revealed a potentially complex set of attributes, linked
to stages which not only encouraged creative thinking, but also meta-
cognition. It also introduced me to the concept of design thinking as an
alternative to the design process – which focuses on a way of working as
opposed to an outcome in the form of an artefact.
Secondly I explored the nature of successful e-learning environments from an
educational, aesthetic and practical point of view.
Understanding the importance of meta-cognition and design thinking lead me
to Sternberg’s (in Sternberg and Williams, 1996 ) idea of developing the

138
whole student. His theory describes how developing an intellectual balance
between creative, analytical and practical abilities is ideal. By aligning
Sternberg’s theory with the core principles of design thinking I developed a
conjectured design process model which is presented in Chapter five. I also
explained the design and implementation of this conjectured design process
model relevant to e-learning. My data collection presented the results of my
final aim - to understand the student’s experience of using e-learning.
5.3 New perspectives
When I initially embarked on this study, e-learning and then the design
process was my focus. In the course of the research, two major shifts in my
thinking occurred. Firstly, a broader acknowledgement of the design process
and its characteristics focused my attention on how to use e-learning.
Secondly, an understanding of learning theory, especially Constructivism,
influenced my teaching approach and helped me to make connections
between the design process and how students developed understanding and
a way of working. This subsequently informed the e-learning choices I made.
5.4 What I have learned
Although this study focused on e-learning and the design process (with the
aim of understanding the relationships between educational theory, designed
artefact and practice) unexpected outcomes revealed the difficulties of
creating a community of learning. Traditional studio-based learning
environments and assessment methods encourage competitiveness, and my

139
students who were used to such environments and methods, revealed a
reluctance to collaborate or share information. On the other hand, during data
analysis it became apparent that students have a need for a collaborative,
interactive and cooperative community of practice. I have grown in my
understanding that a creative ecosystem needs to be nurtured face-to-face
and then perhaps transferred to the virtual environment.
5.5 Challenges
The challenges I experienced during this study relate specifically to the
research methodology. Design-based research prefers collaboration between
persons linked to the context of the study. As a researcher I worked alone,
and although acceptable in terms of the methodology, support and interaction
with interested parties within my own department could have strengthened
the study.
5.6 Contributions to knowledge in the field
I believe this study provides those involved in studio-based learning
environments with potentially useful information in two areas. It shows how
the design process integrates with learning theory. It also shows how e-
learning, not usually associated with studio-based learning, is a useful tool for
the development of meta-cognition and a creative ecosystem.

140
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Appendices
Appendix 1
Design process models adapted from Dubbley (2005) and Design Council (2007)
Date Developer/s of design process model
Key characteristics of the design process
model
1945
George Polya, professor in
mathematics
Stanford, wrote How to Solve It.
1. Heuristic solution to solving any problem
2. Gave rise to the concept of design process as
problem solving
1963
Bruce Archer from the Royal College of
Art
1. Key stages were introduced
2. Combination of the intuitive and the cognitive
3. Formalised the creative process as part of the
production process
4. First to include communication as part of
process
1965 Bryan Lawson
Products of a process and the process are two
different things
1972 Don Koberg and Jim Bagnall
1. Added feedback to their model as a way of
‘never going forward without always looping
back to check on yourself’
2. Added analysis and synthesis
1980 Brian Lawson
Recognised the conscious attempts to solve a
problem, and unconscious incubation periods as
part of design process

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1984 Gerhard Pahl and Wolfgang Beitz
Developed model for students to help them to learn
to design
1994 Stuart Pugh
Revised existing linear models which suggested
that design problems are solved in one go, by
introducing cycles and iterative phases
1996 Paul Souza
Spiral model that included learn and listen as a
stage, and goal as motivation
2001 Alan Cooper
1. Goal directed
2. Collaborative
3. Egoless
4. Appropriate design
5. Assessment and self-assessment
2003
Clement Mok and Keith Yamashita
American Institute of Graphic Arts
1. Acknowledges team work
2. Rapidly learning and “tacking” based on your
successes and failures
2007 Design Council No set best practice in design process
Appendix 2
Characteristics of design-based research (Brown, A. 1992; Collins, 1992;
Gravenmeijer and Cobb, 2006; Design-based Research Collective, 2003) and
compared to qualitative and quantitative research (Leedy and Ormrod,1989)
QUALITATIVE RESEARCH
Leedy and Ormrod,1989
DESIGN RESEARCH
Brown, A. 1992; Collins, 1992;
Gravenmeijer and Cobb, 2006;
Design-based Research Collective, 2003
QUANTITATIVE
RESEARCH
Interpretative, constructivist,
postpositivist
Applies existing empirical knowledge in a
real world context
Traditional, experimental,
positivist
PURPOSE
Seeks understanding
Exploratory, and observes to build
theory from the ground up
Presents multiple perspectives
that have equal validity
To build new theory, artefactsartefacts
and practices that impact on learning and
teaching
Helps us to understand the relationship
between educational theory, designed
artifact and practice
Develop innovative instructional theory in
domains that are not commonly
understood
Seeks explanations,
predicts and generalises
Establishes, confirms or
validates relationships
(causal)

151
PROCESS
Holistic and emergent
focus, design, measurement and
interpretations emerge and possibly
change along the way
Researchers interact with their
participants
Categories emerge from the data
leading to context bound info and
patterns
Based on phenomena that occur in
naturalistic setting
Research takes place in authentic setting
- contextual and naturalistic
Intervention based on existing empirical
knowledge
Aligns theory, design, practice and
measurement over time
Emphasis is on successes and failures
on intervention as opposed to the artifact
itself
Iterative with feedback from colleagues
and using participants to help draw
conclusions
aids validity
Involves multiple dependent variables
Concepts, variables,
hypothesis and methods of
measurement defined
before the study begins.
Researcher remains
detached from participants
Takes place in contrived,
controlled environment
QUALITATIVE RESEARCH
DESIGN RESEARCH
Brown, A. !992; Collins, 1992;
Gravenmeijer and Cobb, 2006;
Design-based Research Collective, 2003
QUANTITATIVE
RESEARCH
DATA COLLECTION
Uses multiple forms of data
collection such as observations,
interviews, objects, written
documents, electronic documents
(ie e-mails)
Reality is not easily divided into
measurable variables
Researchers become the research
instrument because the bulk of data
collection is dependent on personal
involvement (interviews and
observations)
Small sample group
Many dependant variables – researcher
may not pay attention to them all
Triangulation and time frame of study in
years lends itself to internal validity
No attempt to keep variables constant –
just identify them
Surveys and questionaires can be
standardised
External validity can be achieved through
time, place and people – aims for
ecological validity
Identify one or few
variables that are intended
for study and collect
specific data
Ensuring each variable is
standardised with validity
and reliability
Data can be converted to
numerical indices
DATA ANALYSIS

152
Inductive reasoning – make specific
observations and draw inferences
from them
Subjective in nature
Observations, and reasoning is validated
through participant input and feedback
from colleagues
Process documentation creates evidence
Deductive reasoning –
hypothesis or theory and
drawing logical conclusions
Objectivity in data analysis
Data can be summarized
through statistical analyses
REPORTING FINDINGS
Interpretative narratives
Looks at patterns and themes
which are described and interpreted
Process is as important as outcome, and
is well documented
Narrative and uses thick description
which allows readers to draw their own
conclusions
Reduce data to means,
medians or stats
Large number of scores
depict a norm
Results are formal and
scientific using passive
voice and impersonal
language
Appendix 3
Letter of consent: focus group participants
LETTER OF CONSENT : Focus groups
Dear Student
As a Masters student in Graphic Design, (Title of study: Lurking, linking and
learning), I am inviting you to participate in a research project that will study
the effects your e-learning has on engaging you in the design process. I am
asking you to take part in a focus group. It should take about 20 minutes of
your time to complete.
The results of this project will gauge the success of the technologies used in
the classroom and gain various opinions on the design and educational value.
Through your participation, I hope to understand how to improve the
environment. The focus groups are casual and open ended and any opinions

153
you may have on the subject, no matter how honest, is appreciated. I hope
the results will be useful and will share them by referring to them in my
masters’ thesis and future publications.
This study presents no risks to you, and if you decide to participate, I
guarantee that your responses will be confidential. Your participation is
voluntary and there is no penalty if you do not participate.
If you have any questions or concerns about participating in this study, you
may contact me at 031 3736648, or email me at sharonzoepke4@dut.ac.za.
Name: ……………………………………….. Date:
……………………………….
Signature:
Appendix 4
Letter of consent: participants
LETTER OF CONSENT :
Dear Student
As a Masters student in Graphic Design, (Title of study: Lurking, linking and
learning), I am inviting you to participate in a research project that will study
the effects your e-learning has on engaging you in the design process.
The results of this project will gauge the success of the technologies used in
the classroom and gain various opinions on the design and educational value.
Through your participation, I hope to understand how to improve the
environment. The focus groups are casual and open ended and any opinions
you may have on the subject, no matter how honest, is appreciated. I hope
the results will be useful and will share them by referring to them in my
masters’ thesis and future publications.

154
This study presents no risks to you, and if you decide to participate, I
guarantee that your responses will be confidential. Your participation is
voluntary and there is no penalty if you do not participate.
If you have any questions or concerns about participating in this study, you
may contact me at 031 3736648, or email me at sharonzoepke4@dut.ac.za.
Name: ……………………………………….. Date:
……………………………….
Signature
Appendix 5
Blackboard VLE data: blog posts
>Subject: tattoos Topic: The history of tattoos
Author: Goodstone Mphana Date: 05 August 2008 14:42
tattoos were basically used by different cultures long time ago, they were however used for cultural
reasons such as initiation.
nowadays people just do tatoos to decorate their skin or just for fun.
>Subject: Tattooooos Topic: The history of tattoos
Author: Motlatsi Kathekiso Date: 05 August 2008 11:25
Tattoos from my knowledge were used by the japanese people for cultural reasons and in some
societies they were used for marking prisoners.
I think people get tattoos for fun today, Some people get them for personal reasons like for example
portraying a tattoo of your first son/daughter.
>Subject: tatoos??? fo sho!! fo sho!!
Topic: The history of tattoos and why you think
people get them!
Author: Ntokozo Mthembu Date: 31 July 2008 14:13

155
From my knowledge and form what ive read form the bible is says... the first tatoo was marked on Cain
by God so people can see that he was punished by him for killing his own Brother( but it is assumed that
is was a tatoo)
i find tatoos fascinating in wasy that there are some people who have the courage to lay their bodies for
marks i would like to have one but not a hectic, scary, demonic one if you get what i! mean you dig??
>Subject: tattoozle to the taboozle Topic: The history of tattoos
Author: Jared Kieser Date: 30 July 2008 13:22
interesting feedback so far... personally i think the time of getting a tattoo as an act of rebellion has
passed, they are becoming more and more accepted and have lost their taboo...
all the people i have spoken to got their tattoos for different reasons...(religious, fashion, memorial,
prison) and all the tattoo styles were different from each other ...(tribal, star, black, full colour etc)
even though i dont have any and probably never will get a tattoo, i still dig tattoos... seen some pretty
cool ones and some terrible ones.. people should do what they want..
Comments
Author: Sharon Zoepke Date: 30 July 2008 13:27
Like most trends...they start out underground and move into the mainstream, until they become
meaningless, hence the countless butterflies on the hips. Unless of course one gets a tattoo for some
of the other reasons that you mentioned
>Subject: get off my back Topic: The history of tattoos
Author: Charl Uys Date: 30 July 2008 12:19
so this is another ranting about the age-old struggle over ''what is and what isn't wrong with tattoos" you
might think. the truth is that it all boils down to freedom of choice and not giving a sh*t what people
would think, wich in the end doesn't have a right or wrong. you cannot begin to even think you know a
person just because they have tattoos. by simple human interaction you can understand people and
maybe even have a nice talk about their tattoos. it is just a medium that suits the human canvas nicely.
Comments
I think you're wrong Charl... It's because people give a damn that they have tattoos. Unless they
have significant meaning in your life, why would you get one
maybe you’d like to read a few other posts and make a comment!

156
>Subject: tattoo's for the sake of tattoos Topic: The history of tattoos
Author: Stephen Atterbury Date: 29 July 2008 13:25
I think a tattoo should be a message about yourself, give an idea into your character, So it irritates me
when you see girls coming up with their little butterfly tattoos on their hips, which shows they just want a
tattoo because its the "in" thing...
A person should preferably come up with their own design somehow and request the tattoo artist to do
that for them rather than choosing from a catalog and seeing the same tattoo on someone else. Time
should go into the choice of a tattoo and not be a rash decision seeing since its permanent.
You also see in the music scene, most artists have a tattoo or are covered in them, it starts to get a bit
cliche, like just a trend, like "oh, here's another hardcore band with their piercings and tattoos ".
Yes people have the right to do what they want, but try finding originality in it.
Tattoos should be an expression of ones self and not just the cool thing to doC
Comments
Author: Jonathan Rich Date: 30 July 2008 14:03
Steve you are the bomb! I agree hundreds hey boet. And when will a tattoo or a piercing not be
stereotyped anymore? When will will they be seen as individual expressions or memories or
whatever? I tell you the truth, only when tards bound by peer pressure, low self-esteem,
drunkenness, and the "inability" to make decisions for themselves, dictated to by the unimaginative
world, only when they catch a wake-up and think for themselves, imagine for themselves, and stop
stealing the individual expressions of others and making it their own, only then will they be seen as
an individual creation, not part of a group, but as an original individual.
Author: Stephen Atterbury Date: 04 August 2008 11:04
High five! Go team! Now lets all go get a star tattoo or wait, a fairy princess!
>Subject: Let people be... Topic: The history of tattoos
Author: Lele Dinte Date: 29 July 2008 12:26
Some people get tattoos just to look cool, fit into a certain group, or religiously. Some say tattoos are a
way of rebelling, getting attention or going through a painful process because they want to feel(cause of
depression). I say let people be, do what you want to do on your body.
>Subject: Religion Topic: The history of tattoos
Author: Tyler Dolan Date: 27 July 2008 14:46
For those who don't yet know im christian and from the other coments I didn't see any indepth religious
views so I found a interesting article,is a bit long but interesting...
"Ye shall not make any cuttings in your flesh for the dead, nor print or tattoo any marks upon you: I am
the Lord." Leviticus 19:28

157
This passage is both in the Christian Bible and the Jewish Torah, which share the Old Testament.
Traditionalists in both religions speak out against getting tattoos and point to this passage as the reason,
but modern times have seen the acceptance of tattoos into most spiritual communities.
It was said in the past that tattoos were the “mark of the beast” that is referenced in the bible. The devil
is said to come and collect all souls that have the “mark of the beast” on judgment day, and tattooing has
been interpreted as that mark in extremist Christian groups. Now, however, crosses, rosaries, praying
hands and other Christian symbols are better represented in tattooing than any other organization. It is
no longer a taboo amongst Christians, but instead has become a source of pride.
It was once against the law for Jews to get tattooed, and it was a crime punishable by the rejection of
being buried in a Jewish cemetery. However, post-Holocaust, after countless Jews had been tattooed
with numbers against their will by Nazis, this law was no longer enforced. Getting a tattoo by choice is
still highly looked down upon in most strict Jewish communities, but is becoming less so with each
generation.
Pagans celebrate their religion and spirituality with tattoos of pagan symbols. Stars, trees, and the
elements are tattoos chosen often by everyone, but pagans take credit for most of the most popular
tattoo designs. Buddhists have been tattooing since before Jesus was said to have been alive, and their
designs are still in practice today.
Hindus are able to get tattoos, except for pictures of their gods. They can get the names of their gods
tattooed on them, but not the actual images. Every other type of image is allowed.
Islam also prohibits any type of body mutilation, much like Christianity and Judaism, and tattooing is
included. True believers of Islam follow this rule carefully and stay tattoo-free.
Article is from http://www.tattooinfo.net/Scripts/prodList.asp?idCategory=28
Comments
Author: Mike Muya Date: 30 July 2008 11:22
Jesus died on the cross so that we can be set free from the law of moses. If you gonna live according
to the law
make sure you dont break any of them. the bible says you break one law you break all of them.
The old testament was written before Christ came to die on the cross, but thank God he came now
we live under grace. Jesus says, it not what you put in that makes you unclean, its what comes out.
God will use anyone with a heart after him, regardless
of what you look on the outside. David is remembered as a man after Gods own heart, yet he did lots
of things that was not good in Gods eyes.
>Subject: UV tattoos Topic: The history of tattoos
Author: Bryce Louw Date: 24 July 2008 18:38
I personally find UV tattoos the most interesting and appealing, in terms of a tattoo for myself, uv's are
the way to go. Here are a few examples of UV tats as well as info regarding the inks used. Copy this into
your browser http://www.tampainktattoostudio.com/blacklight.html The HTML creator isn't working for me

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O.o Regarding my opinion on why people get tattoos, i think it's a form of personal expression, whether it
be attention seeking or purely personal, it's still expression and everyone is entitled to that.
>Subject: why? Topic: The history of tattoos
Author: Phiwayinkosi Khumalo Date: 24 July 2008 10:22
I think tattoos are just a trend it's either you join it or you don't, Look at how gals have butterfly tattoos on
their backs and guys like to have tattoos on neck with their names or a barcode. However I do believe
that all tattoos have a meaning but half of the people don't know it they have tattoos for the fun of it.
>Subject: consistency consistency
CONSISTENCY!
Topic: The history of tattoos
Author: Wesley Weizt Date: 23 July 2008 15:11
i feel that all tattoos should flow, instead of having a crappy tattoo by itself then trying to make it flow
when your bored of it or as a cover up. Think before you leap cause its gonna STAY there, my general
feeling on tattoos is either a nice moari tattoo like NZ or a good tribal will do or even if you go get a
sleeve. For those of you not knowing what that is, its when you get your whole arm done or leg. for more
sexy time go to http//www.chopper-tattoo.com
Attachments:Image17.jpg
Comments
YEAH! i think this guy absolutely is right. I wish i had his intake on life maybe he could run for
president
Author: Dineo Mote Date: 05 August 2008 09:49
i think each person has their own reason of having a tattoo. In most cases it because they just love a
certain design and love to have it on their skin. Iv also learnt that other people cover the scars and
they have tattoo's as permanent make up. In a way that is convenient to a certain extent. People
should really take time to think about a design and what would it mean to them, because this will be
with you for life.
Personally id love to have one
>Subject: Pain to Minus Pain Topic: The history of tattoos
Author: Tercia Van Staden Date: 23 July 2008 11:52

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Why do people permanently mark their skin? The guy i interviewed said that he got his first tattoo at the
age of 13, and it kind of became an addiction for him. Other people think that by physically hurting their
bodies they will take away the emotional pain they are feeling. Some people also feel more comfortable
and beautiful with themselves. I think people also do it because they are attention seekers and crave
attention from the public
>Subject: ink-on-skin Topic: The history of tattoos
Author: Alastair Laird Date: 23 July 2008 10:02
Most bali's also go through midlife crisis and feel getting a tattoo will make 'em look hard. Getting a
tattoo and then turning into a wrinkled prune in your old age is a bad idea I don't care what anyone says,
but most rappers have stories behind their chops. Anyone could get a tattoo and it just boils down to a
choice you make whether you want one
>Subject: Men and their tattoos Topic: The history of tattoos
Author: Jesselene Pandaram Date: 22 July 2008 13:41
I interviewed the owner of Eagles Tattoo Parlour and he said that tattoos on men are a show of force
and strength as when males engage in battle with one and other the first thing noticed is the rolling up of
sleeves hence showing their tattoos... their own mark of strength.... he said that this trend started with
the aborigines!
Comments
Author: Wendy Yang Date: 22 July 2008 14:05
I didn’t know that, sounds cool :D
>Subject: why? Topic: The history of tattoos
Author: Sarah Inggs Date: 22 July 2008 09:46
i believe that people get tatoos for specific reasons and no matter what their reasons are, its their body
and they can do whatever they want. they shouldn't be discriminated against what they decide to put on
their body and when it comes to obtaining a job, one should be selected on their abilities and not their
appearance.
Comments
Author: Justin Pybus Date: 22 July 2008 09:52
true that i want to be a tattoo!
Author: Nomnotho Dlomo Date: 22 July 2008 09:53
if thats your belief that its your body what u r doing is telling God that what he created is not
PERFECTION that u can do better...

160
Sad to say Sarah but people do judge a person on appearance because that is what they view first and
especially when applying for a job the person who is doing the interviewing does'nt have the time to get
to know what a great person you are underneath all the tattoos.....
you know jess, you are right to a certain degree. that is how people do think but dont you think that a
person who is in a position to interview someone should know better than what someone looks like and
once they have spoken to them will pick up if the person has potential or not.
At the end of the day its what job the person is applying for …. Sometimes tattoos fit right in….
at the end of the day its what job the person is applying for.... sometimes tatoos fit right in....
people should be hired on their abilities but many people do look at appearances. FIRST
IMPRESSIONS DO COUNT, especiallly in an interview
Sometimes tattoos do fit right in. All you need to do is look at the number of lecturing staff who have
tattoos! Not too sure if that would go down well in the Maths department.
Author: Phiwayinkosi Khumalo Date: 24 July 2008 10:08
I agree with u on that people shouldn't be discriminated because of their tattoos however i think some
tattoos can say something about that person eg, prison tattoos are unique and have a bad meaning
behind them judging from what the prisons are known for. but i would recommend for such tattoos to be
hidden from the public eye.
>Subject: Cosmetic comfort zone Topic: The history of tattoos
Author: Bianca Carroll Date: 22 July 2008 09:35
I've seen that some people get a tattoo to cover up a scar, either to feel better about getting through a
rough time or to symbolise their new found 'life' or 'strength'. The one guy i interviewed had an Ace of
Spaces card tattooed on his wrist to mark the fact that it had saved his life. In a true life story i watched
on tv, called "Why I Wore Lipstick to My Mastectomy", the lady had recovered from breast cancer and to
symbolise her journey and recovery, she had a rose tattooed ove
Comments
1 Author: Justin Pybus Date: 22 July 2008 09:46
on the guinness world records show some years ago, i saw a ho that got chops all over to cover up her
dermal condition and keep it on the down-low hahaaaa. she had over 90% cover of her body and had to
apply base everyday so she could go to work and appear normal.

161
>Subject: a medical side Topic: The history of tattoos
Author: Shane Hardie Date: 22 July 2008 09:32
After a small chat with a herbalist in westville's village market on the henna leaves used in henna tattoos
i learnt that the henna tattoo is not only used for decorative or religious means but also places on
sprains and bruises due to the face that the henna leaves contains natural herbs that is aborbed into the
skin.
Comments
Author: Sifiso Mhlongo Date: 22 July 2008 09:36
okay, you’ve got me there, didn’t do that much research, I’m just using general knowledge
but I’ll get you on the next topic ha ha ha
yes, they also use henna on hindi, tamal and muslim brides when they get married. They put henna
on their hands, feet and nails
>Subject: New inks mean easy removal! Topic: The history of tattoos
Author: Jonathan Hurd Date: 22 July 2008 09:30
"Yeah Jonty, but when you are older, i guarentee you will regret getting the tattoo and the worst part is
you can never get rid of it fully". Thats what my pops told me when i told him i was keen for a tat. Thanks
to researchers at Massachusetts General Hospital (MGH) and Brown University a new ink is being
developed that can be removed with a single treatment. Sorry for you pops. Richard R. Anderson is at
the forefront of this new technology and says it will be completely safe as well as easy to remove,
regardless of the ammount of colour used. The ink should be available for public use within one or two
years.
Comments
okay, i hear you but a tatoo is a flop by 1 thing because when you get old and your body gets all rinkled
up, the tatoo hardly gets regnised anymore it fades away or takes the shape of your skin
In my one interview, the guy said that there is a 'patch' you place over your tattoo to remove it. He said it
contains magnesium (which apparently the body hates). The body then repels the magnesium along
with the ink. But this process is best used for small, full inked tattoos and is painful, stinks, is slimy green
ooze and takes about two weeks.
Don't think a bad smell and some bollocks pain is gonna stop someone who really wants a tat removed
from doing so...I say WOOHOO, coolios to the new ik technology! Good job Jonty

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>Subject: tatoos Topic: The history of tattoos
Author: Anneline Beharilall Date: 22 July 2008 09:30
tatoos are a form of body art, that firstly started of as a form of traditional methods of applying design.
Now days people do it because of the popularity, significance/symbol to the person such as your star
sign, some people get tatoos because it just looks cool on your body and also to portray a persons
character or a certain image that they want to perceive.
Comments
na mayn wrong again. Tatoos can be traced back to the ancient times of tribes and clans that existed
thousands of years ago, they used tatoos to label themselves so they could be easily recognised in
which tribe they belonged into
Author: Mpumelelo Mtshali Date: 22 July 2008 09:46
dats true, some have em as a reflection of who they are
I agree... everyone has their own reasons and meanings behind their tattoos
whatever the person chooses, to have a tattoo and what image that person chooses, its up to that
person because sometimes that tattoo has a very special meaning for that person and no one would
want to deprive a person of something special that makes that person happy. so its all about personal
choice
Sifiso you are very right! That concept was called 'tribalism' and showed that you belonged. If you think
about it, many people do it for the same reason today!
>Subject: y? Topic: The history of tattoos and
some people get tattoos because of peer pressure, or make them feel like they belong to a group, to feel
accepted
Comments
maybe but most of them do it for spiritual reasons, some for personal ones and some get it because they
were doing time in jail and they got it by force and not by choice

163
one always has a choice son its mostly peer pressure as wendy said.
I agree with sifiso on this is not always by choice.... And if you have interviewed more than one person
you would know that peer pressure is'nt
the reason behind getting tattoos.....
i agree. you really need to do more research.. get your facts straight.............
i accept what sarah and jess is saying but this world is changing a lot and alot of young people are
getting influenced by media and people around them to do things to be cool, to do whatever it takes. so
it is just upto the person. do what you want with your body but think before, so you know you wont regret
it!!!!!!!!
>Subject: what affect that tattoos have in the work
field?
Topic: The history of tattoos
Some people look down at people with tattoos especially in many professional work fields, so it can be
hard to find work if you have many tattoos. Then people just need to wear long sleeve shirts most of the
time to cover them up!
Comments
Wrong, people with tatoos find it hard to fit in the work place because they find themselves being labeled
as criminals or thugs and they are given a hard time at work, their superious may also wnt to check if
they've got any criminal records or not. hows that for some info. ha ha ha
nah i agree with wendy because the work place is a professional environment and you have got to look
the part!
how do you know this? have you been looked down on before?
i disagree because you shouldn't judge people by what they look like. its not what you put in that makes
you unclean, its what comes out- meaning its the heart that testifies to the true condition of the person
and not the outward appearance

164
To Justin, i havnt experienced it myself, but i interviewwed this man and he told me this problem and he
had a hard time looking for a job. he has one now but he always have to wear a long sleeve shirt to
cover his tattoos that are all over both his arms.
i know it depends on which job you want to take so its actually up to the employer and his/her thoughts
on tattoos.
for all the people that disagree- yeah it is wrong to look down on a person before you even get to know
them, but when you are being interviewed, they are not gona take the time to get to know what you are
all about. you are just there for the job and you dont get a second chance to make a first impression so
sad to say, but your appearance does matter
>Subject: tattoos Topic: The history of tattoos
Author: Sheree Conway Date: 22 July 2008 09:09
People get tattoos as a form of expression, for some it is something meaningful. But for most it is just a
mere fashion statement. A tattoo is simply just a mark made permanently onto the skin. Others get
tattoos to be seen as different, or rather a want a sense of belonging.
Comments
1 Author: Wendy Yang Date: 22 July 2008 09:25
i agree with you, but people dont remember that tattoos are PERMANENT and if you want to remove
them you have to go through expensive laser surgery which could leave you scars!!!
>Subject: History of tattoos Topic: The history of tattoos
Did you know that tattoos go back 5000 years!!
Attachments: japanese tattoo.jpg; sailor tattoos.jpg

165
Comments
"Yeah Jonty, but when you are older, i guarentee you will regret getting the tattoo and the worst part is
you can never get rid of it fully". Thats what my pops told me when i told him i was keen for a tat. Thanks
to researchers at Massachusetts General Hospital (MGH) and Brown University a new ink is being
developed that can be removed with a single treatment. Sorry for you pops. Richard R. Anderson is at
the forefront of this new technology and says it will be completely safe as well as easy to remove,
regardless of the ammount of colour used. The ink should be available for public use within one or two
years.
i had a chat with clint from skin trade tattoos and was under the impression that some time ago an 8000
year old mummy was found with tattooed markings on his back. experts believe they had both religious
and medicinal significance. very cool.
>Subject: Why do 'normal' people get tattoos? Topic: The history of tattoos
Go here! to find out why 'normal' people get tattoos! This site has an interview, tattoo designs and tattoo
trends!
Leave a comment and let me know if agree or disagree about what has been said!
Comments
1 Author: Phiwayinkosi Khumalo Date: 24 July 2008 09:58
I think normal people get tattoos because they want to experience something new in their life. Some
people do tattoos for the fun of it I say this because mostly girls like butterfly tattoos on their back and
guys like to put a name of a famous place or their names on their backs. However there is strong
meaning behind any tattoo but its on the individual to find out what the desired tattoo mean.
>Subject: Why? Topic: The history of tattoos
Author: Sarah Cummins Date: 21 July 2008 09:01
These days people get tattoos for so many different reasons. For aesthetic appeal. To "fit in". For
sentimenal significance or to tell a story about their life experiences, eg. fighting cancer or a near death
experience. To show people what kind of person they want to be persieved as, whether its their faith,
their personal oppinions about things, or their lifestyle etc. Or just to make a bold statement.

166
>Subject: Full Body Transformations Topic: The history of tattoos
Author: Thomas De Beer Date: 17 July 2008 11:54
People like Tom leopard, Lizard Man,The Enigma and The Great Omi have always captured our
imagination as freaks, outcasts and circus acts with their strange and freakish outward appearance.
From being a half leopard anthropomorphic hybrid with whiskers to having a gaint blue puzzle span the
surface of your body these men travel the world showcasing their abnormal bodies.
Attachments: enigma.jpg; leppard.jpg; lizard_man.jpg; omi.jpg;
Subject: Why do people get tattoos Topic: The history of tattoos
Author: Demo Student Date: 16 July 2008 18:41
Not sure if this will help. But the conversation is interesting! Go to http://jeffsotoart.blogspot.com/ to find
out why Jeff gets tattoos! Go to his post called 'Tattoo post'. Brilliant tattoos...if you're into that sort of
thing!
>Subject: Why do people get tattoos Topic: The history of tattoos
Author: Nicole Goss Date: 16 July 2008 09:47
People get tattoo's for cosmetic, religious, sentimental, memorial, magical and other reasons. It can be
used as a symbol of belonging e.g. gang tattoos. Tattoos also are used to identify people e.g. the Jews
during the time of Nazi Germany. Sailors used to get tattoo's as souvenirs for the places they had been,
which began to give tats a bad reputation. Many criminals got tats to show how "badass" they were.
>Subject: WHY I THINK PEOPLE GET TATTOOS Topic: The history of tattoos
Author: Amber Grant Date: 15 July 2008 08:50
I think people get tattoos to be seen as 'different' or to be rebellious, when in actual fact they are
conforming to a specific stereotype. People with tattoos may appear to be 'hardcore', and want to be
perceived in a certain way. I think people get tattoos to make a statement, sometimes its for attention
and now its seen as the 'cool' thing to do. People may get a tattoo that has sentimental value or simply
to make a mark on their body.
Comments
1 Author: Nosipho Ndabezitha Date: 15 July 2008 13:47
It's kinda like a way of expressing who you are and what you represent!

167
Appendix 6
Threaded discussion: What I need to think about….
For your current project you will need to take a photograph for use in your double page spread.
In the discussion below I would like you each to think about the following...
1. What do I need to think about before and during the shoot/ or
2. What skills have I learnt so far that will make my picture great!
Make one suggestion only and comment on someone elses' suggestion.
Subject: shooting photos Topic: What I need to think about....
Before taking a picture i have to consider the amount of light in relation with my object, the angle and
rule of thirds. These are the common basics one has remember when taking a picture.
I have learnt some of the great skills in photograhpy that includes lomography, implied line and the use
of light when taking a picture.
Reply Forward
Subject: Taking a picture Topic: What I need to think about....

168
Author: Motlatsi Kathekiso Date: 05 August 2008 11:00
When taking a picture we must consider light, angle and the rule of thirds. Playing around and taking
shots at different angles can give good pix,during a shot one should try by all means not to move. I have
learned that using of implied line and light will make my pictures great.
Reply Forward
Subject: flashing, lights.... Topic: What I need to think about....
You should really look at the angle, light, position and composition.
Iv learnt that you should'nt take one picture and think it will work. You should really play around more
and you'll realise that you'll have better pictures than the one you decided on.
I love this thing...
Reply Forward
Subject: Colour aint that great! (smily face) Topic: What I need to think about....
every picture has its story. Weather it is of high quality contrast in a black and white photo or a nice
sepia photo, who says we need colour all the time. Dont get me wrong full colour works but why not play
around a bit " i'll rather play around and get it wrong a few times and be different" quote from Jonathan
Hurd.
With b&w and sepia photos it's a little uncontrollable, maybe with a colour photo you'll see a bag under a
table and with b&w or sepia the shaddow would be strong enough and you might not even see the bag
at all or enough not to make your eye focas onto it.Now here are two nice photos i feel suit what im
trying to say. wes for president
Attachments: 2006_05_pearljam.jpg down_spread_lrg.jpg
Comment
Subject: Re:Colour aint that great! (smily face Topic: What I need to think about....
interesting approach wesley, i fully agree with you.
I couldnt view those two fotos you attached though.
Comment
Subject: Re:Colour aint that great! (smily face) Topic: What I need to think about....

169
how come i can see them? maybe other people cant either. I'll ask sharron about that
Comment
Subject: Re:Colour aint that great! (smily face) Topic: What I need to think about....
Author: Sharon Zoepke Date: 04 August 2008 15:43
Good thinking Wesley...not so sure about the president bit though!
I could open the pics fine. Really great example of a double page spread using lots of negative space.
Reply Forward
Subject: capture the mood Topic: What I need to think about....
well im am impressed... it seems that all of you understand the importance of composition and lighting...
in all my years in the studio i have come to value these two aspects more than subject matter... anyone
can take a photo of a guy sporting his chops, its the composition and lighting that capture the
atmosphere and the mood of the photo....
what do you want the atmosphere to be?? will you use hard contrasting light, back lighting or a soft light
to create the right mood?
dont be afraid to experiment and explore with angles... make mistakes.... i did in my early days...
if anyone needs help please, dont be shy, come tap me on the shoulder and ask for some help or
advice.....il do it for free.
remember everyone....... "day or night, check your composition and light....and you will come right"
Comment
Subject: Re:capture the mood Topic: What I need to think about....
shot boet, you're such a good ou!
ay, no hundreds!
Comment
Subject: Re:capture the mood Topic: What I need to think about....
hahaha jared you made me chuckle! very valuable advice
Reply Forward
Subject: bringing disco back! Topic: What I need to think about....
i'd like to be thinking about nice things like rooibos tea and wooden floors and the lumo disco's of '85-'93.
Or else i might get a fright and screw up the shot.
Composition and light play a huge role in determining if your subject is dark and mysterious or dramatic

170
or lomo or "as it is" or fun or comical or friendly or with attitude or theatrical or typical or original or just
plain normal. So it really depends on what kind of feel i'll be giving to my layout and article as to what
kind of photo's will be produced...
Reply Forward
Subject: During A Shoot Topic: What I need to think about....
Author: Mike Muya Date: 30 July 2008 11:03
I find when taking a picture, the thing i always try to
look out for is composition and lighting.
Those are the two things that i always cant seem to get
right. Any suggestion will be greatly appreciated.
And as for what one needs to think about, in accordance with the discussion, the time of the day
(lighting), composition (what is it you trying to capture)
and what style (light,lomo,line). capturing motion in to
freeze frame one needs to look at the content as design.
Comment
Subject: Re:During A Shoot Topic: What I need to think about....
Author: Jeffrey Parsons Date: 30 July 2008 11:04
what?
just jokes, gd pnt
Reply Forward
Subject: Picture Perfect Topic: What I need to think about....
Author: Tercia Van Staden Date: 30 July 2008 10:32
We all know that good things in life often happen by mistake. Photography is no different. Often the best
pictures taken are those that are an "accident". I've often heard people say "I just took the picture, I
didn't even think about the subject", and their pictures are really brilliant. For others, photos are all about
composition, lighting and shutter speed, which works for them too, their pictures also turn out great. So I
think it just all depends on what you like and what you want out of a photograph.
Reply Forward
Subject: the best things happen by chance Topic: What I need to think about....
During a shoot, i will be thinking about light and composition like everyone, but then there's also playing
with the aperture and ISO speeds to get exactly what you looking for in a specific shot and specific time
of day.
I've found that i enjoy taking photos where there's chaos mixed in with something calm, it creates a
division in the photo; making an interesting photograph
Reply Forward
Subject: An award winning picture... Topic: What I need to think about....

171
Author: Lele Dinte Date: 29 July 2008 12:42
Angles, lighting, background, all the elements of taking a picture are needed through the process of
creating an award picture.
I must say that the tree part rule is what i always think of, now that i know what it means. With that rule
and those elements u got yourself an award winning picture right ther.
Reply Forward
Subject: Bustamove Topic: What I need to think about....
So here's the deal. lighting and composition are on the top of my 'important things to do while taking a
photograph' list. Obviously subject matter is important but getting the lighting and composition spot on is
imperative to a swankingly impressive photo. Next on my thought proccess, is originality. Im not amped
on following norms and being a sheep. Even if i get it wrong a few times, id rather fail at doing something
different a few times, as opposed to being unoriginal.
In terms of taking photo's of tattoo's and such. Im lost.
Any suggestions?
Comment
Subject: Re:Bustamove Topic: What I need to think about....
Jonathan..you're not taking a picture of tattoos.. you're shooting a portrait of a person that has a specific
tattoo(s). Capture the person.
Comment
Its always cool catching interesting photos that you don't see in everyones photo albums, and not just
the average "post card" photo, but in our photography now as a subject, its important to remember the
basics and stick to the brief to achieve your max mark for your photographs, instead of just handing in all
your favourites.. As with taking photos of tattoos, take care with focus on subject and obviously with
lighting used properly you'll be able to intensify the area where the tattoo is.
Comment
Remember that 'sticking to the brief' means understanding that you are being asked to show that you
understand a particular aspect of design or photography etc. This doesn't mean you can't push the
limits!
Reply Forward
Subject: I think i got this on lock down Topic: What I need to think about....
Author: Ntokozo Mthembu Date: 29 July 2008 09:25
This photography thing is so cool becuse the more you play around with a camera you end up fluking
and taking really cool pics. but as time goes by i think il have this camera thing on lock down!!

172
What i have learnt so far is that pictures are boring when taken on the dame level or eye level you have
to explore different angles and composition is really what makes your picture hot!!!!!
Reply Forward
Subject: My opinion is.. um... this...? Topic: What I need to think about....
I'm new to this photography thing and i find the best way to figure out a camera is to play around on
auto, jotting down certain settings that the camera uses itself in certain situations and apply that
knowledge to photographs in full manual.
What i find appealing in photographs will differ from the next person. But in my opinion subject matter is
often worth nothing if the lighting and compostition is horrible. What i'm saying is that a photo focusing
on light can be a thousand times better than a photo of an amazing boat (just an example). I feel subject
matter is not nearly as important as lighting or composition, so get your ideas of lighting down and make
sure the image or idea you can fathom in your head is managable by your equiptment.
Something to consider, in terms of lighting is the cast shadows that singular light sources create. I find
cast shadows in natural outdoor photography particularly attractive. They create an alternate element of
depth as well as giving the viewer a sense of situational awareness (I'm trying to describe it in the best
way i can...horribly in other words).
Feel free to rain your criticism down upon my horrific english and incohesiveness...that's not a word!
Reply Forward
Subject: Mise en Scene Topic: What I need to think about....
Composition is an integral part of a photo shoot, possibly the most important aspect. As designers, we
have learnt the Rule of Thirds, which enables us to create clear, crisp, critically acclaimed compositions
with our little picture boxes.
Reply Forward
Subject: It's Killing Time Topic: What I need to think about....
Author: Luke Molver Date: 24 July 2008 10:50
One of the most important factors contributing to a good photograph is LIGHTING. It is crucial that the
light (preferably natural) suits the mood and feel of the picture. Waiting for the correct moment of the day
can turn a photo from simply a good picture, to a Pulitzer Prize winning shot.
Wait for the right moment.
Kill time.
Comment
Subject: Re:It's Killing Time Topic: What I need to think about....
Inspirational stuff!
Reply Forward
Subject: on the spot Topic: What I need to think about....

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Author: Alastair Laird Date: 23 July 2008 10:14
Good photography can only be captured in the moment, unexpectedly. There is no real way to plan a
photograph, sure there are certain methods people follow but after using similar formula's things become
unoriginal. Everyone thinks the same way, they are trapped in a box with no escape. So for me, i am a
strong believer in the 10th rule...forget all rules, do your own thing.
Comment
Subject: Re:on the spot Topic: What I need to think about....
Author: Luke Molver Date: 24 July 2008 10:52
What about the first rule?
Do
Not
Talk
About
Fight Club.
Comment
Author: Kevin Goss-Ross Date: 29 July 2008 09:07
if you dont know the rules you can't break the rules.
Comment
Good point!
Reply Forward
Subject: Hyperlinks for info on portraits! Topic: What I need to think about....
There are two sites under 'Web Links' (on your left menu) for great info. Remember to add any other
sites that you find and save them in the right category ie. Photography. This way we can access them
anytime!
Reply Forward
Subject: Strike a pose! Topic: What I need to think about....
Remember you are shooting people. And some are uncomfortable in front of a camera. What can you do
to put them at ease.
Look at the poses in the pics attached.
Attachments: face_tattoo.jpg grrr_tattoo.jpg looking_right_tattoo.jpg

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Reply Forward
Subject: What does format mean? Topic: What I need to think about....
Can anyone tell me what 'format' means and why you need to think about it?
Comment
Subject: Re:What does format mean? Topic: What I need to think about....
Format is whether or not you want to shoot a portrait or landscape shot. You need to think about it as
this can create quite an effect. For example, if you are taking a photo of a tall skyscraper, shooting it
portrait will emphasise the height of the building.
Comment
Subject: Re:What does format mean? Topic: What I need to think about....
Exactly!
Reply Forward
Subject: whats important Topic: What I need to think about....
i think the first thing one needs to think about when taking a photo is their composition and subject
matter- is it interesting enough to grab the attention of a viewer and appealing enough to hold that
attention? natural lighting is always important when shooting a pic as it can give you a good overall look
depending on what time of the day it is and if that doesnt work theres always your flash!
Reply Forward
Subject: A picture is worth a thousand words..... Topic: What I need to think about....
When taking photo's we should take into consideration, composition, light and angle. But most important
is to capture what you are saying through the picture...." A picture is worth a thousand words"
Reply Forward
Subject: Re:A picture is worth a thousand
words.....
Topic: What I need to think about....

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You are so right Jesselene. Look at how these three pics of the same person say completley different
things!
Reply Forward
Subject: the perfect picture..... Topic: What I need to think about....
photography is all about the moment you are capturing. the image must tell a story and in order for a
brilliant picture, everything has to be perfect like the lighting composition, subject matter/focal point,
angles, etc.
Comment
Subject: Re:the perfect picture..... Topic: What I need to think about....
I agree with you Sarah for the picture tells the story....
Comment
Subject: Re:the perfect picture..... Topic: What I need to think about....
I also agree with Sarah.
The key word here is planning and thinking about what you are trying to do! But also remember we
sometimes have 'happy accidents'.
Reply Forward
Subject: composition & light Topic: What I need to think about....
Author: Sheree Conway Date: 22 July 2008 13:40
By using the rule of thirds this creates a balance and good composition within a photo. Decide what kind
of light source would be best for the essence of the environment you are trying to create and capture.
Reply Forward
Subject: what i've learnt Topic: What I need to think about....
Author: Goodstone Mphana Date: 22 July 2008 09:57
when taking a picture, one has to consider the following, light and rule of thirds to give you best results.
Reply Forward
Subject: Re:what have we learned Topic: What I need to think about....
Author: Motlatsi Kathekiso Date: 22 July 2008 09:52
moving around your object all the time can give you nice pix

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Reply Forward
Subject: SUBJECT MATTER Topic: What I need to think about....
Author: Sanelisiwe Dlamini Date: 22 July 2008 09:47
if u gonna take a mundane pic always try to take advantage of your surroundings and light source
because the outcome might surprise you...Remember Fundis pic of the knife..Nomnotho and Sanelisiwe
Comment
Subject: Re:SUBJECT MATTER Topic: What I need to think about....
Author: Ongama Tshawe Date: 22 July 2008 09:54
ukutheth'inyani andiyati ukuthi yini imundane pic, ngiyaqela ukuthi ungichazele
Comment
Subject: Re:SUBJECT MATTER Topic: What I need to think about....
Ek kan nie daardie taal verstaan nie.
Reply Forward
Subject: Re:taking photos at the beach Topic: What I need to think about....
nice gal ill try dat. Nomnotho and Sunny
Comment
Subject: Re:taking photos at the beach Topic: What I need to think about....
yeah than do da beach is a good place to take out pics especially in the early mornning and late
afternoon when the light hits the water and you get all these cools colours from the sunsets
Reply Forward
Subject: LIGHTING AFFECTING THE SHUTTER
SPEED AND FOCUS
Author: Shane Hardie Date: 22 July 2008 09:38
In earlier or less advanced camera's the lighting and auto focus in the camera itself can cause many
issues, most common being a blur to the picture. Fortunatily with there being a low light and if you use
no flash you can use this to ur advantage, it's not easy since the low amount of light causes the shutter
to remain open longer giving you a wonderful blur if it is planned or a horribly blurred photo.
Reply Forward
Subject: Re:LIGHTING AFFECTING THE
SHUTTER SPEED AND FOCUS
I've had too much experience with low lighting causing my images to blur, but not knowing what the
problem was. I always had to use the Auto settings. Using another camera, i've found great options that

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allow me to take better, in focus images with low, artificial or night lighting. i've learnt how to make great
effects with the ISO settings and fire sticks.
Reply Forward
Great to hear that you are trying new things Bianca. That how you learn! Well done.
Reply Forward
Subject: Curtain Flash Topic: What I need to think about....
In some cameras - if you look for it, you can actually use the flash along with the blur. This is called
curtain flash and the effect I find is usually even more interesting than just a straight up blur. What your
camera does with a curtained flash is it opens the shutter for a long time, as shane said, usually for a
second or longer, and then emits one burst of flash right before the shutter closes again or alternatively
right at the beginning of the exposure. Not all cameras can do this, of course but it'll be worth your while
going through the maual and trying it out. Check out the attachment for an example.
Attachments: Max_Normal_20070615_1682_copy_filteredsmall.jpg
Comment
Remember to think about taking a tripod with you when shooting your pics. This will help.
Comment
Great post everyone. Remember, those of you that are not that advanced. Select a lens using the icons
on your camera. You can normal select a portrait, landscape or macro mode. The one you choose will
depend on how close you are standing to your subject and whether you want your background to be in
focus.
Reply Forward
Subject: angles Topic: What I need to think about....
Author: Fundiswa Phungula Date: 22 July 2008 09:37
when it comes to light the thing one should take into consideration is the time of day and were the light is
coming from and where its going . The angle that one chooses must have good shadows and the
different effects of the lights must be well balanced.
Comment
Subject: Re:angles Topic: What I need to think about....

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Author: Jeffrey Parsons Date: 22 July 2008 09:55
Don't forget the effects that you can get when you use a specific type of lighting. We are talking about
natural lighting, such as when the sun is behind the subject there will be a cast shadow coming towards
you, giving a very nice dramatic effect (especially from a low angle). The subject will be dark so consider
having a reflective, (white polystyrene board), to direct a slight front light to light up your subject. To me,
light is what makes a photo stand out and can really make a difference.
Comment
true, but hey if its not perfect we have photoshop! good job technology is improving everything is just
getting better...
Comment
You are right Sarah...Photoshop can be used to 'tweak' a picture, but it cannot make a poor photograph
great!
Reply Forward
Subject: what have we learned Topic: What I need to think about....
Author: Ongama Tshawe Date: 22 July 2008 09:35
we've been given natural light that reveals things as they are, so natural light is the way to go. it only
calls for patience until you get the right light that you require.
Comment
Nazoke......natural light is the best
Comment
Author: Fundiswa Phungula Date: 22 July 2008 09:39
i certainly agree ongama natural light is the real thing there are no touches from "photoshop"
Comment
i hear you there my fellow classmate, natural light is the best and it gives you perfected pics but it is also
time consuming, you can not always have the same light that you want, you have to wait for the sun to
go down if you want a pic with less light or take a pic in the afternoon if you want 1 with a lot of light, so
you see that it is sometimes good to develop/create your own light to get that perfect pic that you so
desire, i mean it wont harm you 1 in a while
Comment

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dats true sifiso dats why agencies dnt depend on dat coz time is money
Comment
I think you are all correct!
Natural light is great if you can use it. But using a studio with lighting gives you control. Speak to the
Photography department about using their studio! You never know they might squeeze you in!
Reply Forward
Appendix 7: E-mail correspondence with students
>Hi sharon, been meaning to talk to u, but totally forgot yesterday,
need some help, and guidance on the following maters;
!
the illustration faces i got 33 for, i mentioned to u that i had my line and fulls deleted.and no longer have
those files, So did my best, not sure if i understand what exactly u want us to do, could u just also
have alook at what i have done, and see where i am going wrong.
will u be available at tech tomorrow, for a small sit down and chat session?
hope u haveing a stunning evening
much love x
>Hi Sarah. Hope I see you today.
Your illustrations need a lot of work!!!

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It has nothing to do with what you have or don't have... You need
to show me that you can use the software...and that you understand
when to use illustrator and when / how to use photoshop. find
illustrations that you would like to copy or bring in the ones you
have and we can work out together how to do somethng!
Come on, last lap around the block...nearly over!!!!
I look forward to seeing you soon!!!
Please be here for briefing tomorrow.
Warm regards
>hi sharon
I do log in and i check different working line on photographs i think im clear now all the
information i get it on the table content (design technics photograph,) i
sow horizontal,vertica,diagonal and implied line., i learn now that, each an every time
i had to get a brief not to usking information to other student.i as i always do.
i wish to get feed beck please if you can able to respond, i lost my lomograph picture but
i will able to redone those picture and send to my face book thanks enjoy long weekend.
>Hi Sharon
I'm sick at home with glandular fever, but doing my best to get all the work done. I'm just a little worried
about being able to show you my work and get feedback.
Would it be possible to take photos and send them through to you
>Hi Sharon
Am I on the right track?
Screen shot 209-14 at 7.56.19 PM.png
207K View Share Download

181
>Sorry I took so long to reply...been sick at home and internet is +@%@#
All of these are appropriate...and very good. The sock colour scheme would be called
a random scheme..it's a great photo. All of them work very well!
Good work
>Hi Sharon
I have been in a bit of a fender bender this morning on my way to Durban, but Im alright. My car has
been towed, but I am able to get lift into Durban tomorrow to hand COP and the illustrations in. I have
emailed through COP just to show you that I have done it.
Regards
>Okay. Not a problem.
Warm regards
Sharon
>Hey i emailed you last night but now have them all in one pdf plus my
comments thanks!!
20918527-Mvelo Gwambe.pdf
9427K View Download
>Hi Mvelo
Thank you for submitting. But, your file is too big bokkie!!
You can give it to me tomorrow on your usb.
Regards
>hey this is the smaller size of my previous pdf sori about that!!!
20918527-Mvelo Gwambe real.pdf
1316K View Download
>Hi Mvelo
Thank you for submitting.
The pics are fabulous. Marks on pdf are for comments.
Prints will be assessed later
Regards
Subject: socks
Focal point: I would say it’s the brightest sock, the one right in front
Colour complimentary colours, green and red. Not sure if this can
work as a colour photo, but there were just so many colours in the
socks.

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feedback Mvelo Gwambe.pdf
9506K View Download
>hey sharon thanks for the comments yes :) uhm just wanted to submit my coke poster (grey) final
illustration i can work on a final color one and forward it
thats if its cool with you. coke attached. hope you are enjoying your holidays
209185271 coke grey black and white final.pdf
882K View Download
>Hi Sharon, its Ntokozo mtshali 20710730. I sincerely apologise for the
late work.
colour pics.pdf
136K View Download
>Hi Ntokozo
Thanks for the great comments. I really like the first two shots.The colour works well and so does the
composition. The other two are less interesting in terms of their composition. Do you have more we can
look at?
I'll see you tomorrow.
Warm regards
>Dear Sharon can i please submit these photos im Bongumusa Gama.
B.Gama 20924924 colour project.pdf
139K View Download
>Hi Bongumusa
Thank you for the pics.
The term monochromatic means 'one (mono) colour (chroma)'. So be careful how you use that term in
your
explanations.
Warm regards
Hi Jean Pierre
I know you wanted to shoot pics for your next brief...
I'm trying something that I'm not sure will work...
I have attached an html file that is the same as the brief you will find online in the classrroom...
download and when you open it, do as follows
>open with > select a browser (ie firefox)
This should open up the doc as a web page and you can follow all the links etc.

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Let me know if it works!
Regards
Light2email.htm
11K View Download
>It worked thanks Sharon. Really appreciate it.
Enjoy your holidays.
Jp Myburgh
Sent from my BlackBerry® wireless device
>Hi Sharon. I have been trying to take new pictures just to improve on the other ones that i have sent
you months ago.
Regards
>Hi Phila.
These look good.
I love the t-shirt pic....and your explanations and understanding of how the colours work is good. Well
done.
warm regards
>
njabulomkhizecolour.pdf
130K View Download
>Hi Njabulo.
I think the shoe picture is your best pic! The red shoes are your focal point and the others create a lovely
texture. Although you have planned your other pics, I believe your understanding of the rule of thirds is
maybe a bit fuzzy. Lets chat today or when you have a chance.
Warm regards
Sharon
>Hi Sheron, plz let me know if u got these.
Mnqobi Sithole Colour Photoes.pdf
248K View Download
2Phila Zulu( web).pdf
267K View Download

184
>Hi Gobs
yes, I got them. Thank you for the comments!
I do like the idea of having a vibrant spot colour with neutral backgrounds. I think we can play a bit with
'curves' in one or two. Bring them in and let’s chat.
Appendix 8
Private Journal entries: reflection on practice
Reflection on practice
If you want to meet your goals you need to understand what you're good at and what you're bad at.
Try to think of more than one thing in each category.
In the journal below, create a single entry, think about your performance during the year and
complete the following:
1. I am really good at...
2. I really struggle with....
3. I plan to change things by...
My Journal
Subject: garrrrrr.... Topic: Reflection on practice
Author: Stephen Atterbury Date: 02 September 2008 11:53
This year started out with allot of enthusiasm;was looking forward to developing on what we had learned
in the first year. I think that I've put in a reasonable amount of effort into reaching deadlines with a good
enough end product. I've found that it hasn't felt like there's been as much pressure on us as first year,
which at a stage left me feeling a little dissatisfied with the course.

185
criticism aside, i feel like this year has sparked a bit of my creative thinking, with ability in drawing; i've
started drawing allot more and incorporating those drawings into illustrations and designs.
I've really enjoyed photography as a subject, i think it answers the first question with what i think I'm
good at. I've used some of my photography for use in design for myself and look forward to integrating it
into design for projects in the future. I think i have a reasonable eye when it comes to "seeing" a picture
and have a reasonable understanding of my camera.
I really enjoy illustrator and think my ability in designing from thought to screen is pretty good, it also
takes up allot of my personal time.
I struggle with commitment to my ideas, often i don't have confidence in what I'm doing, therefore
loosing interest (this being more evident in figure drawing and drawing that have to be integrated into
designs). It's mostly because I look at some of the designs i've done for myself and think that if only we
had a more interesting brief that would actually have something i enjoy, my projects would turn out allot
better.
another struggle for me, as common as it is, is coming into class, within this year there's been allot of
times we come into class and not had lectures, so from a personal side, i don't enjoy having to make the
effort to get ready, wait for buses, and get to tech and learn nothing. I think I struggle with group work,
because i don't really like relying on people fro something thats going to affect my mark, but i've gotten
better with this as i noticed in our last history project.
I can change this by trying not to think about what i enjoy and if the project doesn't fit that , that i should
approach it with the same enthusiasm as something i would enjoy.
Comments
1 Author: Sharon Zoepke Date: 02 September 2008 14:10
Thank you for your comments Stephen. We will try to address the issues you have.
I think your photography is coming along really well....I am impressed with the commitment you have
shown towards Illustrator. This will only benefit you later.
Not having confidence at this stage is pretty normal. If you aren't sure, ask a staff member or even a
fellow student. The briefs you get are actually interesting...in industry you will spend days designing
OMO packs (mmmmm..not very interesting)
I think your last comment is great.
Try to inject enthusiasm into everything, even though you might not enjoy it that much. Also remember
that learning is up to you....there is a fabulous library on campus and you have the best mac computer
lab, at your disposal, in the Southern hemisphere (yes really!)
No day should pass by without you learning because you're waiting for someone to teach you
something!!!
Close this window

186
Subject: Bianca C Good, struggle, change
Author: Bianca Carroll
I think that I am good at typesetting. its something i've always enjoyed, getting everything in the same
format and i love typography. I'm also very resourceful. I think I'm also good with doing research. Altho I
struggle a little bit with finding a solution and sticking with it, or developing it to the best outcome. I'm
indecisive. But find that the more time spent on it and discussing it with others, the 'brain breakthru'
occurs and I find my way.
I struggle a lot with drawing. I over-analyse what I'm drawing and end up spending too much time
redoing it, instead of moving on to fix or finish it.
The way I am going to change this, is to keep developing my ideas and have many different solutions
before I hand them in. I've also got my friends' opinions on my work & make those changes. I keep trying
to 'loosen up' (more) and have fun. With drawing, i'm going to try spend less time stressing about it and
get on with it.
Comments
1 Author: Sharon Zoepke Date: 30 July 2008 13:19
Bianca, being indecisive is normal at this stage. Try to dive in and get help or opinions quickly, so that if
you are going off in the wrong direction you can get back on track.
Speak to students who are good at the thing you're working on... they will more than likely give you good
advice.
Read, surf the internet and practice, practice.
Close this window
Subject: Reflection on years performance
Author: Nicole Goss Date: 03
1. I feel that my strengths lie in my dedication and work ethic. I always try hard, continuously trying to
better my work and can see the growth that I have achieved. I don't have a distinct style which allows me
to look at what others have done and be inspired, incorporating various elements into my designs
ensuring my designs don't become static. I really enjoy looking at tutorial sites and seeing how others
have done things. I really enjoy photography and am lucky enough to have the equipment in order to
achieve good results. (As well as resources such as Kevin when I get stuck! :) ) 2. I really struggle with
drawing which is a major component in this course. I struggle to finish work as I feel there is always so
much more I can do to improve. Time management has become a recent issue as I am trying to juggle
two courses at once. This year I feel I get demotivated very quickly and don't feel the passion as I once
did. 3. In regard to the drawing aspect I know that all I require is practice, I plan to try and draw more
often. I hope this will inspire me to do bolder drawings and try new things as I grow my talent and
abilities. Time management is always a problem so I feel I just need to structure my life more and waste
less time. When I get given a brief I plan to start right away, and try and find an angle that will keep me
interested and motivated to finish. Overall I feel this year has been successful and I am continuing to
grow as a designer. I plan to maintain the standard that I have set and hope that I can achieve my goals
of obtaining a full bursary for my 3rd year.

187
Comments
Nicole.
You can feel very proud of your commitment to the course. This attitude will always take you far!
Drawing is a big issue in Second, but in third year it is much easier! (and much more fun!) Your
photography will stand you in good stead in third because you can always choose to use this medium
over illustration!
You are burning the candle on both ends! Be careful and remember to reward yourself for all your
efforts. Remind yourself that you're doing a good job! Try to relax and enjoy what you do.
Good job as always!
Author: Nicole Goss Date: 06 August 2008 12:05
Thank you for the encouragement! :)
Subject: MY STRENGTHS AND WEAKNESSES
Author: Amber Grant
I feel that one of my strengths is photography as I am really getting into it and experimenting and
learning the manual function.
I also enjoy Illustrator and Photoshop but I feel that there's still quite a bit more to learn so I'm doing
tutorials that I have found off the internet.
I enjoy History but I find it quite a bit more challenging this year.
I can definitely improve in figure drawing as this is definitely one of my weaknesses. I enjoy the drawing
assignments we get given, but I find with drawing, I have to really try hard just to pass. I can improve in
drawing by maybe going for extra lessons or drawing in my spare time.
In general I can do better in all the subjects if I just put in more effort and time, as I definitely need to
manage my time better. I can also improve by focussing more on the process work.
Subject: design techniques,communication Topic: Reflection on practice
i really struggle with submitting on time. This is because i know that i am very slow on applying my work
on computer. Therefore my work is finished late. The only way i can over come this is to make a
decision with my design as soon as possible, then i can make changes while applying it computer.
I believe i am good at having good well planned work. Process work is what i enjoy. And most of all is
the end product of my design.
Comments
1 Author: Sharon Zoepke Date: 05 August 2008 11:14

188
Process work should take up more of your time at this stage..ie. second year...because you are still
learning.
If you are slow on the computer, what can you do to correct this?
Subject: Reflection on practice
Author: Justin Pybus
1. I am good at photography, illustration and design. Logo design interests me a lot as does typography
and animation.
2. I realy struggle with... I don't 'really struggle' with anything the course offers. Obviously the course is
challenging- which is good. but my head is bove the water. I would say I am least experienced in the
field of magazine layouts but I don't 'really struggle' with it.
Sharon, in your opinion, what is my weakest area and
3. how do you propose I improve on this?
I try to keep a good balance between all the things I do and in this way aim to be competent in all
aspects of the Graphic Design course while realising that I need to specialize in the long run. I believe
that in getting a strong all round knowledge of design I will be able to make an informed choice at the
end of third year as to what I want to do for my degree.
Comments
1 Author: Sharon Zoepke13 Date: 18 August 2008 10:29
Wow Justin, what a level head. I can see that you are very motivated and I think your attitude will always
take you far!
I don't think that you have a weakness as such. Getting a broad understanding is always a good idea.
Just enjoy and keep up the enthusiasm.
Subject: What Makes and Breaks Me
Author: Tercia Van Staden
I am really good at using gouache paint, I see myself good at photography and thinking of different ideas
for new projects.
I really struggle with computers, especially when we start new programs, such as indesign and
illustrator. I also struggle with Figure drawing, drawing naked people just does not do it for me.
I plan to change this by being more positive about it, in believing that I can use new programs, and
practicing more and more to draw naked figures, even though its not something that I would do in my
spare time...
Comments

189
Well thought Tercia!. Remember to try and incorporate what you are good at into your work when you
can.
Technology freaks most people out, and working under pressure makes learning software harder...just
practice as much as you can, and go onto the web sites in web links, and others for tips and tutorials
that can really boost your understanding!.
Drawing naked figures is not essential, you will need only one figure drawing at the end of the year for
portfolio! Drawing is training your eye to see... so drawing anything will help.
Being positive is also have the battle won!
Subject: My pros and cons(i feel so gay right now sharon
you jst don’t know:)
Author: Ntokozo Mthembu
Author: Ntokozo Mthembu Date: 04 September 2008 11:21
Ok the thing is that i always have these great ideas on how to execute designs!!! especially the
grunge kind of style but the thing is that i cannot execute it to the "t" it just looks great in my mind but
come to paper or screen thats just a whole new story,i also really like mat kays style i try to practice it
now and again!!!!
What i can say im really good at, is conceptulising just coming up with the ideas at the top of my
head is what i can say i can do. if you can help a dude out with execution that would be most
appreciated yeah
yeah!!!! holla back Shaz(",)
Comments
Author: Sharon Zoepke Date: 16 September 2008 14:14
Okay, toxic here's the low down!
Everyone starts off with great ideas in their head. (Why do you think Van Gogh cut off his ear!) ...the skill
lies in getting them onto paper.
With more experience, your head and hand will meet and you'll get it to work the way you want it to...But
look at Matt Kays' sketches...(got to Gluebook and click on his flickr link). The guys draws all the time.
The secret is no secret.. practice, practice and practice!

190
Subject: time management
Author: Phiwayinkosi Khumalo Date: 04 September 2008 11:57
I have struggled lately with my time management, I always take a long time working on one assignment
and loose time on other projects. My other problem that I Intend fixing is my research, not much time is
put on it. In that case I end up submitting work that Im not happy with. Well I believe in my drawing skills
and I have seen how good they look when processed into the computer. What can make me a better
person in the design field is spending time researching, doing process work and than going into the
computer.
Subject: I BATTLE WITH
Author: Nomnotho Dlomo Date: 21 August 2008 11:58
i battle with a lot of things and at times it feels as if i don't know why i am here and the struggling is
messing with my confidence..Some lectures don't help coz they sometimes make me feel worse, but
mostly the battle is with design techniques, and photography. But I'm trying because i got myself a
photography student to teach me the basics, MAYBE THAT WILL BE HELPFUL
Comments
Author: Sharon Zoepke Date: 02 September 2008 14:27
Nomnotho, I am sorry to hear that you are battling. What you need to understand that it is normal to
struggle when you are still learning how to do something!
But you need to speak to lecturers more so that they can help you..let them know when you feel that
they are not helping you by making comments that upset you. Also understand that sometimes
comments can be hurtful if you take them personally. It's about your work, not you!
You need to spend more time on the computer learning. Photography basic were dealt with very
thoroughly in class... read your manual to find out how your camera works.
Please consult more!
Subject: how to reach my goals
I can't really say i'm that good but i think in design techniques and drawing my performance is much
better than in other subjects.
I seem to struggle in communication design i really don't know why, but i think i really need to pay more
attention
and do some research in order to achieve good marks as in other subjects.
Comments
1 Author: Sharon Zoepke Date: 08 August 2008 12:03

191
Goodstone
I agree with you. Your techniques are strong!
Communication Design is tricky..but it does help if you ask yourself ...'what do I need to understand
before I start this project'. Make a list...and then do your best to find out as much as you can.
This process may use up three days of your time in the beginning, but will save you a lot of time in the
end! And remember that we are always there to help you at any time!
Appendix 9: Transcription of focus group discussion

192
Okay. First question basically is. Based on what you did in first year, how do you feel about using technology,1
as I’ve described, as part of your learning or your design process in second year? Anybody?2
Well, I think that it would have been a lot more helpful if we’d had the interaction with the lecturers in the first year; like3
it would have helped, big time; but I find that this year, when we use the pdfs like communicating by lecture, getting4
them to comment on your work straightaway you’re able to fix the stuff; like at the time.. it helps so much more..5
You can’t rely only on, on that - you have to see the lecturer, the people have to be there, that’s called for a thing like6
to get comments like Justine’s saying like, like on the hour so that you can use email and that sort of stuff but you still7
need to have like contact either with your lecturers every day, I think cause otherwise….8
It’s not a correspondence course, which everyone keeps saying, but at the same time it is nice to have that. So I think9
it maybe should have been introduced in first year but maybe it’s also good that it wasn’t in the sense that it forced us10
to come to lectures so that in 2nd year we didn’t abuse it, like I know some people did, but most of us didn’t.11
It’s just that the thing is, Umm.. there’s, there’s two sides to this ‘cause right now we were using the computer like12
100% of the time and some people were struggling because there were anonymous to it last year so…like small things13
like how to save properly, having printing issues, your work is shifting and you’re like, what’s going on you’re confused,14
you’re stressing, you’re frustrated but at the same time, is.. some people in matric, we all come from different walks of15
life so some of us have effectively speaking, never seen a computer so if we have to come into first year, and, and be16
like heavily involved in technology, some of us will be so scared that we will leave and end up shying away our love of17
graphic designs so I think that a slow introduction like starting off with gouache only and, and working with your hands18
more so in first year and slowly kinda-like melding into computer work in earnest; it’s a good introduction; ‘cause we19
need to take it slow for some people haven’t even touched a computer in their lives…20
But it will be a very like… frustrating thing for someone who has never seen computers and expected to pdf, psd, and21
lead… and it scares you.22
I think what Cas says is right ‘cause like a major issue I think is that hmmm.. you know, that the class gets treated at a23
whole… like you know, there’s, there’s no room for individuals, so like Cas is saying, people come from different24
backgrounds and lecturers are, from my experience of it, aren’t looking, or looking at people’s situations and using, or25
using their sense to say that, that person needs some extra attention in this area.. umm..so that there’s sort of….and26
also they end up talking, relating more with the people who know what they’re doing, because they are relating; you27
know, instead of actually going, like further and showing, like showing people how to do it….28
I think that can also be avoided by having like an introductory to any new project whatever, where everyone needs29
face-to-face, like all the students are here, the lecturer is here, and you started off… and I think the projects need to be30
started off a lot better than they are but you need to sit down, you need to all be given the brief and discuss it amongst31
the class and get all your issues out on the first day you get your brief; everyone must have the deadlines, the date32
with no exceptions; I think it needs to be a lot more structured because when lecturers change deadlines or change the33
brief halfway through, I think it makes it very hard for everyone to stick to what it is (interruption)….34

193
Clarity, it’s clarity35
Ja, and that’s why I think communicating via email like, has helped so much this year, because… if I don’t know36
something I know I can email (interruption)37
But not everyone’s got access to email… so those people actually end up getting an extra advantage as opposed to38
the people that don’t have access to that stuff …. (interruption)39
We had the whole introduction to everything first, a clear out all the cobwebs, ok40
In terms of say, an ideal scenario for most people, would you agree with what was said…Do you agree?41
I think ummm, ummm, the lecturer… they teach us how to print our stuff I think it’s not that helpful for to have a paper42
for him to teach us.. I think he must send us to the printers, to see how they do it [interruption]43
Hey, big time, ja,, ja we need a trip to a proper printer [interruption]…… that will help a lot44
Okay, so if we can just go back a little bit. Briefs were mentioned. If we start at the beginning of a project and45
we say a brief was given, how do you think (and remember the list of things) how do you think technology46
could be used to make briefs better?47
By using what we did with having an interactive brief because videos I found helped me a lot because you can watch it48
over and over again and no matter who watches it you get it because it’s visual and you can see what’s happening and49
having different links to go to and having pictures rather than just a written brief [interruption]50
The links, the links is a good thing like I think, also surrounding projects that we do if more research goes into different51
areas or different ways of, of applying that style of, of different stuff like that and then in the brief you’ve got a hyperlink,52
or whatever to websites where you can actually see umm… those processes…. or you know, that sort of style so then53
you have like quite a good understanding of something before you even approach the project.54
So, just so that I can elaborate, and I don’t want to put words in your mouth now, but for example, if you had55
something like this… and I know it was on the classroom… What do you think? How would you prefer to have56
it; this sort of information. For example in terms of your experiences of the classroom, What did you feel when57
you went there. I mean, did you enjoy it? Did you like it? Not like it?Did you find it irritating going to another58
place to get your brief or…59
I thought it was obviously a little bit irritating to log in and then your passwords were incorrect and stuff, but when you60
were in it, when you had the time to sit and actually read everything, it was very helpful61
Same time this, these briefs you can’t use them ‘cause it’s on the site..its on the computer but if you hand out the62
sheets, I mean the thing 20 minutes it’s gone. So with this, it’s forever there, it’s there so you know I can go back and63
refer to my notes - I find it’s easier.64

194
I just felt that uh.. that for the cookbooks like on line it’s much easier and more interactive like when you go to it ‘cause65
like if you look at a book you get bored with the book and you want to just put it to the side – but with the internet,66
obviously you want to go in and look at this, and you look at that…67
You can get it anywhere as well…ja [interruption]68
Maybe I was to open a new tab and look it up…look it up…. The research…..69
Just quickly …just want to check…have you tested that you can hear all the voices around this table?70
I have tested it…if you speak clearly like yu are, it will be fine…hope…otherwise we’ll just have to do it again!71
But I want to hear from this side of the table too…what was your experience?72
I found it quite useful because all the information is summarized you can do uh …like a questionnaire to see whether73
you understand what you’ve read so I thought it was quite useful …74
So did you…in your experience when you did, because I know we only did one… did you you enjoy doing the75
quiz. Can anyone remember doing that… [interruption]76
It forced…it actually forced you to not just [interruption] read but understand….ja ‘cause like it’s very easy for us to all77
read something but when you are forced to actually answer questions that we should know, and then you realize you78
don’t, it forces you to go back and then when you go back and read it again, you reading it with a whole new frame of79
mind and the fact that it gave you all these questionnaires, little test things that you can do, definitely helps a lot than80
just giving us a document ….here’s the notes, read it… cause it’s boring really… it’s evident with the pdp test … if you81
think about it…how many times have you had to rewrite the pdp test… but because we’ve read it, like, 3 or 4 times and82
we didn’t actually learn it… [interruption] learn it … I think that’s where the problem was with that.83
So, if you say learning…do you think it’s remembering or understanding?84
Understanding… visual… completely understanding…. ‘cause now when you ask someone about it, you actually know85
about it ‘cause you’ve understood it86
Once you understand it, you’ll remember it [interruption]87
It’s not an issue, ja ….88
So would you say then that like the little online teat you’ve been given a section and then given an online teat,89
and it does help you to understand things better.90
Oh… a lot better91
How did you feel about the crossword, for example, when we did silkscreen?92
Uh… Uh… well the notes were very helpful… ‘cause the ones that were in pdf ; I found reading from the pdf much93
easier from than using internet..um…’cause when you use the internet you have to wait for it to log in where with the94

195
pdf you just click on the next page and the next page comes and doing the crossword puzzle it made me understand95
because they gave a definition then you had to look for the word; once you, once you remember that, it’s always going96
to stay in your mind; it’s something that, that won’t [interruption]97
And it was fun.. it was different; Like I didn’t think I’d learn doing a crossword puzzle but it helped so much; ‘cause then98
you don’t know what it is and then you sit there and like, well I’ve read through everything, now what could it be and99
then it forces you to stimulate and then you get going again.100
You want to finish it as well; very involved…it’s a crossword [interruption] you don’t leave a crossword [interruption] you101
have to finish this thing… you must finish it.102
It’s just that with that kind of stuff I reckon just like as much imagery as you can find about actual people using a103
silkscreen and the process of that stuff because obviously we’re visual people like that’s why we’re doing this course,104
because I find that like I learn a lot like when I’m watching things like pictures and videos, I learn the most from that,105
like even tutorials on the internet when someone’s talking to you and you’re watching like most stuff on paper…106
They show you something like that then the whole class tends to copy that one style … you know what I’m saying…107
[interruption] yes… I’m talking about things where the is one like the process of silkscreen where you know, it’s not like108
there’s a lot of different ways to know the structured sort of thing109
Ja certain things you have to switch off110
I was just going to add a note about showing examples of what you expect because I remember, first year when we111
did.. ah… it was design techniques we were working gwash….. doing our last project.. ah.. the lecturer showed us like112
where [interruption] previous…. So, ja that’s one of the things we do struggle with because we don’t know what to put113
out there ‘cause we don’t know what people [interruption] expect114
And I mean there is a good side too is the fact that you have to interpret it yourself but I think it is also quite limiting115
because I might go down a totally different path and then come to Tech and I’m wrong & then all my work that I have116
done all that energy is spent and I’m wrong, but I think definitely seeing more examples of what we’re expected to do117
would help [interruption] … not just internet stuff, like stuff people have done at Tech …118
It’s like a little bit of competition ‘cause you see like that year [interruption] they can do some of our stuff and then like119
you can use in your head you like I’m going to do better than……120
It’s the same principle even in industry because before you start a logo or anything you look for examples of you know,121
then you know what the standard it is and then you can either surpass it or just meet it and then somebody says, do122
something and then you’ve got no records whatsoever you don’t know how much effort to put in so you just get123
confused [interruption]124
You don’t know where the bar is so then how can you get higher on the bar when you don’t know what you’re going125
for, ja,.126

196
How does technology affect the way you talk about your work?127
How do you mean?128
With others or with, for example, with your peers or with your lecturers… How does it change or how do you129
think it could change the way you talk about your work at the moment….lets start with the firat. How does it130
affect how you talk about your work to other people, or with other people?131
I found myself… I mean that anytime that I just email you at a certain time of the day and then get the email back and132
that’s like immediate feedback so I can get onto it instead of having to wait until I have to come to Tech. If I’m sick I133
can still do the work and just email you then you reply then technology helps us connect the testing so…[interruption]134
I think there is no doubt that there’s a lot of pros to being able to do it but the major issue is like going back to it is that135
not everyone is able to do it and then it creates a divide in what you’re doing or I don’t know if there is some way to set136
up that people can have more access to that ..umm… obviously that is quite a hard thing….137
I think looking at it from a different way, [interruption]138
It helps a lot, like of course it does, ‘cause you can send a picture to someone and then get feedback point by point,139
umm.. you know, and that’s interaction, you’re learning, so that’s.. ja… a good thing but,,,140
They’ve basically said everything that I wanted to say…141
Okay, what about your peers? Do you use for example, this side maybe, do any of you use other technologies142
to talk about your work with yur peers or with other people? [Interruption]143
BBM…there’s a BBM group, a Graphic Design 2 Group and there’s a few members say about 13, so as many people144
can join as possible, that’s awesome ‘cause if I don’t know how to do something on a certain programme, I’d say “Hey145
Guys…how do you resize something on Photoshop” and someone will reply “Do this, do this, do this” and then146
immediately someone will be able to help me [interruption] it’s just so handy147
I can imagine that would be helpful…148
Must be so frustrating if you don’t.. like I know….149
You need…obviously a blackberry to….150
Obviously you would but ….151
So let’s say for those that don’t have a blackberry. What, how else do you think?152
Well.. Facebook153
Okay, how do you use facebook for example154

197
I think ….. (inaudible) take all of us [laughter]155
Some people do this156
I think it forces us to like go and look at it and then we can say why it’s really good.. I know like the portraits and stuff..157
if I’ve got mine on Facebook and you get such awesome feedback ; it gives you so much more confidence and then158
some people will put work that they’ve done at home and then you can look at it and it can inspire you to do so much159
more; so it’s definitely nice ‘cause you’re visually seeing and interacting with your other students [interruption]160
And also you know, like photography as well [interruption]161
Ja… Facebook is amazing for just contacting people and also, and also if you do your own design and you put it up162
and Um.. and if you have connections or people in other places that are doing similar things then it’s also start163
connecting to a bigger sort of area of people in the same field Um.. so ja, ….164
And I think Facebook does also help to promote you, you know, ‘cause there’s people for me, for instance, I’ve got165
people with their friends, but then I don’t really know them…. it’s just people I invited and they invited me so when they166
see my work they get interested and that promotes me as a graphic designer… so people out there can see..167
[nterruption]168
And promotes graphic design [interruption]169
And you can get people to [interruption]170
Ja.. and you can get huge jobs; I mean I was asked to do a design for someone; I mean I couldn’t do web design so I171
said, “No” but he said that please can you give me a contact with someone who can to do this so it opens a lot of172
connection doors and also different companies will have a Facebook page and then your life… page and they can give173
you a feedback and you can like communicate with them so…..174
I think um…basically, what you’re saying about the pro’s of this stuff is that there’s a big benefit to having a sort of175
digital portfolio, so all your work that you do and have is online and all you have to do is send a link so someone to see176
and then [interruption]177
Ja…Facebook is a means of doing that [interruption]178
Does anyone have an online portfolio?179
I’ve got Deviant Art one……..two guys in class…. who have a blog180
I have [interruption]181
Oh, and Emmanuel…………[interruption]182
A blog about design …… or..[interruption]183

198
It’s really good ‘cause you can like really develop by doing that; you can go back and I mean, some people write a184
diary it’s just their way of developing, I guess… on our blog I think it would be better if we all learnt how to do that.. I185
mean if we could all have, like the knowledge of being able to have our own web site and encouraged to put our stuff186
on there and write about our own work and any work we like of our friends, be able to post a link onto our page like I187
think it would be awesome …188
It’s not that hard hey…um there’s a lot of ways that you can sort of set up that sort of stuff… like even ummm… what’s189
it called “Works” or something …ja WORKS you can create your own web site and then run it for free, basically … but190
it says “Works” at the end… like if you just sort of [interruption]191
Even if we go …192
If we start educating people about that stuff and also promoting them to get all their stuff as a digital portfolio then, then193
they’re really like, really up a level, so they, they’re exposed to a much broader area as opposed to just their194
classroom.195
And I think we need to know that now …’cause I think that with job..work experience you need to do, jobs you need to196
get you have to have an electronic portfolio … so I don’t think any of us know how to do that .. like legitly so, ….197
Ja…..198
Um…Do you want to say something, because everyone else is talking?199
Hilton, what do you think?200
I’m fine201
Also, the thing is like as someone said ummm… [interrupted laughter]202
There’s a lot of companies and brands/friends that have Facebook pages and there’s a lot of competition, there’s a lot203
of blogs, a lot of exposure basically on social networks like Facebook and when, when you’re going there you can see204
your, your classmates’ work or you enter a competition…. but you, you get so exposed to other people’s designs and205
that’s where you grow, that’s where you … [interruption]206
So true…207
Also….208
and then you understand why… your… your… that things that you do in class are so ??? why you getting 50’s why209
you getting 40’s and that’s why you’re not getting 80’s….. that’s why you also understand you get a broader mind210
[interruption]211
Like quality and where, like what’s better because I think the best thing for us to know is that if our work is good212
enough you should be able to know if it’s good or not; to be able to judge your standard we should like how we’ve been213

199
marking our own work; I know it helped a lot because you know, and also having to be criticized I think is very214
important too215
I’d like to talk more about that too…216
Ja…217
Because it’s important…218
We need to learn which is good and to be able to accept the fact that ok, my work isn’t up to standard but yours is219
really good; why is yours good and why is mine bad; to understand it and then to move forward ‘cause I think if you220
know your mistakes you can completely better yourself on it …221
SO HOW CAN WE USE… WE DO START, WE HAVE STARTED I THINK, MAYBE USING PDFs WHEN YOU222
CHOOSE YOUR PHOTOGRAPHS…DOES THAT HELP? [interruption]223
Definitely224
Describing your work maybe?225
And also for us to have to really think about our work because I found before I email, I’m having to write about my226
photographs, so then I’ll be saying…telling you what I think is good about them and what the subject matter all that227
stuff… it’s forcing me to look at it and judge for myself … Wow … the subject matter isn’t really strong in this photo,228
maybe I need to take another one …229
Anybody else?230
But you should be able to tell people to do it in class ‘cause people just don’t do that kind of stuff …231
Oh they do, believe me, there are a lots of e-mails… {nods around table}232
I reckon a lot of people don’t233
How do you feel about that…does it work for you?234
Ja… it does because it actually makes you look at your work and look at what’s weak. what’s strong and then kinda235
get to what you wanna do if something’s wrong you just wanna get take off more pictures and find better stuff to236
actually send in and get more feedback..237
Okay. So is feedback important to everyone? {visual agreement}238
Ja you need to know where you’re going wrong in order to improve239
Before the feedback…240
And not after……241

200
And you say yes? {agreement around table}242
like a group of us …seen the other guy from our class, tall guy, go to do the …. and go and shoot photos together…243
Together….244
Together…245
You say ok, ? Um… Um….246
Okay. So would you use technology perhaps to even do that?247
Ja, definitely248
Alright if we can go back to the blog thing…somebody mentioned or said it would be nice to have an249
individual blog…but then it was also put out there, maybe a collective blog would also be good. Where250
everybody’s just linked so that it becomes a class blog?251
Click, Click, Click… that’s the start of it but..252
Ja…253
Mean but I don’t think it really kicked off like it should have but I think it would be nice if we all kinda had like a..a254
kickstart in the right direction that we have like a blog that we could all go to and interact with and maybe briefs were255
put on the blog more of an interactive that we could all comment we wanted to start a conversations about different256
works, similar to how Facebook is; like you can go into her album and then comment on it ‘cause I mean that257
generates a lot of discussion but more of the academic thing rather than just a fun [interruption]258
Like rather actually try and help each other and then let someone put on there…”Guys I need your help; this is not259
working, what would you recommend” and then people would be able to just log in, comment, go out, have it always260
on, you know…something like that261
Ja I think we should be blogged262
Definitely [interruption…laughter]263
You got blogged264
I guess personality ……265
You mentioned that we started click click quite late as an experiment. What would you do.. I’ll ask you…what266
would you do to make something like that work better?…Does anyonbody have any suggestions about how267
something like that could be working or used to work better?268

201
I think don’t limit it to just to people’s work…like post if you see a cool web site, or a cool design web site posted on269
that wall and then people actually want to go and see like, ay…maybe someone’s got a cool web site… then you go270
into that link… so anyone who sees anything [interruption]271
Make them want to go272
Ja273
Exactly.. and then the more…it’s like one of those…a snowball effect; the more people are going on and commenting,274
the more other people are gonna want to have their stuff there and then like once it’s set up and once it’s up and275
running, then it’s really good.276
Very helpful as well277
And, it’s also like…’cause I never like know what’s cool so when I feel like just surfing… like cool design and stuff…278
Like… update your status, say guys look, our class is blogged with something, people, our friends, your friends, her279
friends, all our friends and then we can start something there… don’t just make a blog and then just like relax…280
[interruption]281
Get it out there; advertise it on Facebook, have it in your message, status… like really…282
And then you can have like you could have a thousand people check your work that you’re putting out…283
Like a art I mean when you come to exhibition, I don’t think it should be once a year we get to see everyone’s work…284
[interruption] it should be throughout the year…285
Do it properly…and like maintain it properly…and like keep it regular….286
Keep it legit; so then you have like a third year portfolio you go in and follow like certain students … you can go in and287
see like.. for now, it’s been a little hesitant for me ‘cause I don’t know what to expect for third year… the only way I’m288
going to find that out is by going to the exhibition. I think it should be throughout the year to be more interactive with289
each other … I know Vega does a thing when you work together with first, second and third years … and like a290
team…and I think that would be really cool ‘cause you’re combining the technical like skill with the young, fresh ideas291
that are completely naïve…292
That’s brilliant… that’s really good…293
And it’ll force us to like become like linked as like little groups …I don’t know… and also to have more friends in the294
field; .like….295
And we’re all doing the same things…there’s no reason why we shouldn’t all be discussing it [interruption]296
Activity bounces…..297

202
……….There’s one thing that I like thought for a while is for, for a while is more competition and more incentives and298
like little things, you know… and like also where we…where like there’s like a competition, we all work together like299
that day and300
When you say competition…can you elaborate…meaning?301
I don’t know, like um…302
The T-shirt thing we got given for the competition… it had money. We used that competition as our control project and303
although the timing was a bit off, everyone was so into doing it because not only to produce the work for your mark, but304
the fact that there was a chance you could win money … just made everyone so much more interested …305
And also, like the sensible… project crow was that they were actually going to use that thing… you know306
More motivated..?307
Ja…308
Of course…309
Very motivated…310
So you reckon that having a prize…so what…in other ways?311
There’s a lot of ways to do it… but312
Tell me…313
It’s not even the prize…just to know that your design could be chosen … like this whole Cop 7 Team… I mean it’s a314
huge thing for us to do. a lot of responsibility and it almost makes you… O.K. my work has to be on good standard315
because if it isn’t, the world is looking at this… so it forces you to really try your best … and when you try your best,316
your work is generally really good.317
And also, one thing that is quite cool is like, if we have a project or something … if we have like a cool project Um…318
then like organize an exhibition of that…and organize an event around it like…you know like, that Friday… you319
know… this is a project, this is what the theme was and then you’ve got all your things up…..then ja… [interruption by320
cell phone]321
I like the idea of what’s being said there…can we explore that a little more? How could we…[interruption] So322
what you’re saying it would be a face-to-face thing as opposed to using technology [interruption] saying that it323
needs to be a little bit of both….not individuals…but also…324
Feedback… like actually enjoying each other’s work .. and like not only congratulating each other but being able to sit325
and appreciate everyone’s work, ‘cause I know the face illustrations I never got to see anybody else’s and it would be326

203
so nice if we could all like together discuss it and maybe do like a little slide show where we all show each other’s327
..maybe have a good laugh about some of them… I think it will bring everyone together as a unit… [interruption]328
And also, we need like an exhibition, an exhibition area…like that is an exhibition area …329
Ja…330
Like just a little room like with some beanbags, a little table and then an area where people can just exhibit and then331
also that’s an area to like use to have events for like…. and sell beer also….332
What do you prefer…seeing peoples fwork online or digitally, as opposed to face-to-face, or on the board like333
the work at the back there?334
A bit of both …335
Both!!336
Face-to-face is better of the two ‘cause you get to … but you can’t always do that …you know what I mean?337
I remember when Liandra? was here we had an exhibition of our, our posters he actually [interruption] gave us a crit338
on how we did… like that whole week and, and with those posters I think those were like the most genuine ‘cause we339
used our hands more than we used computer and.. and that really helped…’cause it cut out it’s less time as you, you340
usually say.. it takes you less time to make sure that you have it on point by hand … then you can go to the computer341
because most of us I’m sure would just go straight to the computer and see what we can do but it doesn’t work like that342
… we have to think and we have to use our hands first343
Get back to the basics…344
Ja.. I think we forget that…345
That first step of art like this … have a pen and pad346
Ja…347
We forget that first step and at the same time like I think I remember in High School every term there was some sort of348
an award or certificate for someone who has really, really tried ‘cause that also builds confidence ..just as well ‘cause I349
mean if you all quiet and that’s great.. I think it’s one of the best I’ve seen and that stays between us… some of us are350
really shy and we are very scared to show our work ‘cause we, we’re not that…you know, we, we not open about351
anything, but now if you guys have to say..”Ok, look guys..put up your work and let’s talk about it or take pictures” and352
… it, it just makes you feel good; like, like the girl Olivia she’s so quiet but I’m sure that was a booster …she.. she “I353
can actually do this!” so… [interruption]354
And also she really deserves the recognition…355

204
Ja.. but no one knows of her work and no one knows of her ‘cause we’re always in our own world so I think at the end356
of every term you guys say.. like this person has really improved, this person is doing well, and… I mean.. just like a357
sort of recognition at the end of every term or semester…’cause like we all work so hard mmm… but everyone thinks358
…you know I mean just so good to let people know “Ok guys… she’s doing well or he’s doing well…359
And it need not necessarily be the best in the class…360
But it’s like improved …[interruption]361
I think… recognition.. I think they do it in third year.362
On a board?363
On a board…364
So if we get back to the technology again…what I’m trying to find out is whether that would work as well as365
say a for example…we did a blog… say a class blog or flickr… If you recognised people there, would that also366
be a boost. Do you think it needs to be on a board?367
It’s not that…it’s not that… I think they all have their pros’ and they all have their benefits, it’s just that you need a368
balance between all of them so… you can’t just have that thing where people… I mean like have both., you know like369
and look at things from different angles and come, you know, …370
I think on a board is not a good idea ‘cause you won’t be able to get feedback… You just see and say “Oh, it’s nice”371
[interruption]372
You can’t all tick the page …373
Ja…374
But also, for example on the board, you could just have an exhibition for school and on a blog, don’t limit it to school so375
if you’re doing side jobs and… [interruption]376
So, at the same time it encourages like healthy competition sort of, where I see somebody’s work and I’m like… and I,377
I, I want to do more, I want to explore it more and then when I come to Tech and even…even if my…my…my logo378
wasn’t chosen or my illustration wasn’t the best, but because of the comments that are in the blog of my other work,379
then you get to know like, like, like what’s your strong point … for example, some people are strong with illustration380
and they’re not strong in logo design and if, if, if you, you.. let’s say you weren’t bad in a logo project...and I got a381
40….and it discourages you, sort of, but if you’ve got your other work where, where, where you expose your strength,382
let’s say you’re an illustrator or you, you’re a photographer umm…. then you’re going to know instantly where your383
strong point is and by the time you get to third year, you know which field you are going to go to into [interruption]384
Ja, Ja385

205
So, it could work on the board strictly for school and then if there were to be a blog don’t limit it to school…386
And then it also promotes people doing… think ‘cause obviously ummm.. the course just gives you the basics you387
know, and…and the course, depending on how far you take it, I mean, as an individual you can take it as far as you388
want to…you’ve got the access to everything and that sort of stuff… seeing that other people are doing other stuff and389
learning fast and producing really good stuff… like that promotes you to do your own stuff on the side and I think you390
learn the most doing your own stuff on the side where, where you follow… you’re not following anyone’s rules… you’re391
doing this design out of your personal freedom.. [interruption] that’s it……392
You’re not…not… you’re not regulated by any boundaries, you know; you just do your own thing; and that’s important,393
I think for people to do it more often.. ‘cause a lot of people only do the school projects, you know, and then they…they394
could be really good at this thing and they don’t even know it, like…395
You do…but nobody knows about it…396
No…397
So that would be a good way of saying… ‘guys it’s not only me?’398
With technology as well ‘cause everyone’s exposed to it… but not exposed at school ok, so with.. with the blog as399
well..um.. it’s good ‘cause we depend…we, we so trust what the lecturer says that we think that they are the industry400
and every lecturer says “No… it’s not good” then we just feel crushed … but now with the blog you get people who401
say it’s good and some say it’s not good but then you weigh up their opinions [interruption] and therefore you feel more402
confident… and then one lecturer that says “I don’t like this then you just feel like “Oh my… it sucks” [interruption]403
It’s for the public…so then you get feedback from the public … there for everyone to see, so you get feedback from the404
public, you know…405
The whole blog thing… sometimes the guys… or whatever… and I explain to them they don’t understand..406
It’s very difficult…407
And then I show them the blog…and they say “ok, Ja I see …the I show them the blog….this is what you do … and408
show them you see that this is what happens … and then they understand…409
‘Cause not many people understand….410
They’ve got a proper… got a visual aid, they can see what’s there…. ok that’s how you’re doing it….411
Oh maybe your work is not up to standard… maybe you get in the 40’s…. getting better… then some other peoples’412
not say “Ja” if I show … they understand ..413
Right…ja.414

206
I’m sorry… just to like, it’s very vital that we know where, where we strong at umm.. because umm…umm… [laughter]415
like umm…ummm..[ laughter] it’s, it’s, it’s very vital that we, that know where, where we strong at, as designers416
umm..like to, to, to know our strong points and… like also with regard to blogs…and, and417
Facebook?418
Facebook, like umm.. like I got umm.. someone said like we…we…we… so depend on… on…. what the lecturers say419
and umm…and as individuals as classmates we never really crit each other.. umm… as this year because420
[interruption] don’t want to hurt her feelings, don’t want to be honest… just go and ask the lecturer … and the lecturer421
is gonna tell us something else or …422
So how would technology change that?423
It wouldn’t really help because at, at the same time you have to crit yourself as an individual before you even put up424
your work to a blog.. ok this is up to a good standard I’m going to upload it to the blog…. that’s the first step…. to be425
confident about your work and then when it gets to the blog you get critted by your classmates and even the lecturers if426
they are in the blog [interruption]427
So you pass level 1 and then level 2…..428
Facebook then they are [interruption] they don’t want to say it in your face [interruption] they will say it, be more429
stimulated over Facebook or the blog……430
You can joke about it maybe..?431
They’re braver … ja432
They make a comment and then… then… hide, and, and with the blog thing or Facebook or anything it’s, it’s much…433
you can get more honesty from a stranger than someone that you know434
Ja…435
So, the people that are going to be visiting the blog they going to put in what they think which is going to be honest436
more than what we as a class ‘cause as you said, we might be afraid to hurt someone’s feelings… they are going to437
put it as it is and that’s going to help you …438
And how does that…how do you feel when a stranger crits your work as opposed to somebody you know?439
A designer…for example… can’t be like a carpenter or something… [interruption]440
First of all you’re going to have a sense obviously to know if it’s good advice or bad advice441
They can’t make judgement..442

207
You like.. Ok.. thanks …… you look at your work and like…actually you know … like Cas puts his logo on and some443
guy like said “Maybe you should try and do this and this” and I was like looking and like, what he was saying was right444
.. you know.. Sometimes you look at your work for so long that you can’t see something that’s so simple that was…445
that would make it better and it’s just one small little touch …446
I know my work is not OK … I try but sometimes I see something … then I’m jealous, you know … [laughter…447
inaudible] Ay…. This is cool and I come to class it’s different ….. back there I’m a man… then I come here I’m a448
baby!449
So you’re saying that people who aren’t designers must comment as well [interruption]450
Ja451
You need everyone’s opinion [interruption]; you need everyone’s opinion because everyone thinks differently; people452
like different things453
True454
And the public is going to see your work and try and understand what you’re trying to say so you need comments on455
everyone…456
And you need to know how to handle those comments…457
True458
One last question….I want to know how we could use…How you think we could use technology to collaborate459
with others?…collaborate means working with other people.460
Ja, I’ve actually been speaking with this guy in ‘Maritzburg this web development guy whilst starting up a web site with461
that’s basically like Facebook except it’s like its own domain where you have photography design, this, this… you go462
onto it, they’ll have like a list of designers Umm… and with like attachments but they’ve got their own profile, their own463
all their work up, and then you know, then all the photographers so… and with, and with all their contact details and464
stuff as well so then it’s a medium that anyone can use; if someone’s looking to get work done they got it there, they465
can check all these portfolios; if they’re looking for a photographer as well, then they can check or if a designer needs466
a photographer there’s the detail’s there and they can choose a style that, that they like and then it promotes people to467
start working; like doing projects together you know, so you’re using those two things or Umm..ummm… like ja, I don’t468
know about design projects but I’m sure it could work..469
Ja, Umm… we can use technology to collaborate people in such a way that we encourage people to open accounts on470
different web sites, like I..I.. ..and have my logo there and I’ve already skyped with a guy from Lithuania .. we skyped471
and then I’m like, ok cool.. ay…this is the first time I’ve seen a black designer [laughter] so now I have a friend there472
who is willing to accommodate me when I’m ready so, I mean if we tell people ..”Guys listen, guys go to open an473
account see what you get..474

208
Ja, I know, you’re right475
There’s no ? like, like ‘cause there’s some people don’t know and then we end up looking at other people’s work for476
inspiration when we are actually inspiring, can inspire other people as well … so I think .[interruption] that’s how we477
collaborate with other people, so I mean, I graphic art designers… I have two friends from Texas who I’m, I’m going to478
be skyping about graphic art ……but not many people know about graphic art, but some of us should have it ‘cause479
we’re that good so I would…I think like this encourage people to open accounts get some views from people480
[interruption] see……481
Ja482
Get some [interruption]483
To use it properly and consistently, I think ‘cause…484
Ja, you know what then people can, can get jobs, can.. you know, so I think and, and share ideas as well, so you’ll get485
more than just a, a, person, a South African opinion – you get someone whose got a different train of thought from486
another world and you know it, it, it helps you broaden your mind as well so..487
Completely488
I think having accounts and different sites and posting your work you should, you should advertise [interruption]489
It’s just taking a pride in what you’re doing basically.. all of this what we’re saying, basically saying, get your work out490
there and start showing people and that’s the only way to start linking up with people with the same, the same sort of491
ideas, you know… and the more people with the same ideas get together, the more ideas they’ll come up with to492
promote what they’re doing, so… you know493
Anybody else think about ways to collaborate with others? What about other universities?494
To compete… Vega should see our work, CTI should see our work [interruption] ‘cause those are the people who495
…..[interruption]496
Organise like a competition [interruption]497
That you could, that you, you know like you could get a lot of people skypes out of that event…. It’s like you know that498
rowing race, that, that University has… what’s it… Oxford and Cambridge like that sort of thing, like CT and Vega….499
every year we have like, a competition created on like a certain theme for that year ..500
Okay…what about doing the same [interruption] but not in the same town?501
Digital… except the only problem there is that you can’t, you can’t it’s harder to base an event around it and then502
events also basically using technology to bring people together for them to be face-to-face and then discuss some503
[interruption]504

209
So then again, that balance between the two, so you use it to connect, but then you come together face-to-505
face?506
I think that’s very important because then you also you, you, you’re a lot more at ease and you’re relaxed and you’re at507
this event and you’re there to have fun anyway so you end up [interruption] and it’s also stuff that you’re passionate508
about and you want to talk to other people and then they’realso passionate so they’ll be like, that’s very cool, and then509
like, and then you know, you, you create links like that and then also people in industry… that’s a big event that you’ve510
created and obviously you use technology to promote that event and to market that event and you can use your own511
designers to do the design to promote that event, but if you get it big enough then it sort of becomes (a centre) or512
(incentive) for people in the industry to go and check that stuff out; ‘cause also recruitment, you know, for them, so if it’513
a big event and major stuff’s being done and you’ll meet people there that, that can offer people work, you know514
that’s….515
Does anyone else have any…does anybody else use skype?516
Ay, no.517
I just have Skype; I don’t have the internet518
You use skype? …..Okay, you mentioned skype; does that help you to connect with that person although not519
face-to-face…?520
It’s better ‘cause it’s, it’s… you see them… and, and this is what we do, we usually um… like, like … I called this guy521
and he was from China…. Oh, cool, cool… what is that …..[interruption]522
Ah… that must have been a whole thing…….523
It was just so amazing so…I think that with Skype as well I can encourage people…”Hey guys, speak to other people524
not just….. don’t think South Africa, like… those, those people.. we use our culture to, to design that everything that we525
think is based on what we see around us….how we feel, how we see things….so knowing somebody else from a526
different world, allows you to kind-of like step out of your world and kind-of like look at it and say hey….”Wait a527
minute”.. maybe…528
Ja529
Maybe if I take a bit of that, a bit of that …and this comes out so I think , ja, like open accounts get Skype, get on530
Skype and get to talk, just talk….531
I think like that basically as a sort of a concluding statement, or whatever, you know we’re kind of going round in circles532
saying the same thing..but basically promote using technology…. there’s no doubt that… that using technology has533
endless benefits to it but you need to create the hype around it… and you need to, you know, promote it to be used to534
its full potential and then once you do that, it will, it will run itself, you know, ‘cause people will be… it’s like Facebook,535

210
look how fast Facebook’s spread because more people got on it, the more people wanted to be on it. So do you, do536
you…. if you figure out the ways of promoting umm.. using technology, then, then it will..537
And promoting technology, I mean you have to get back to the basics, like posters… that’s it…538
Do a last closing statement from everybody…some are very quiet…539
But that’s what this focus groups all about…you don’t have to say anything… In closing, what would you like540
to make….would you like to say one thing?541
Ja… just one thing… a problem about opening an account that… that other people stealing your work; that’s the only542
thing .. ‘cause…543
Ja but everyone steals everything Bru..544
It’s the risk you have to take these days ….545
You can steal something and maybe use it as a weapon but someone actually taking your work…546
There are ways of protecting and that’s, that’s like low Res…547
Low Res… absolutely548
Low Res ...549
Honestly, if someone wants to do that, they are going to do it and then it’s not very much you can do about that… so I550
think don’t worry about the risks, just look at the positives of it [interruption]551
Still students…552
Very nice553
Umm.. I think well… technology in general just about sums up the thing in my point of view, technology in general554
helps us to see our design like, from an outside point of view… you know what I’m saying…you know, and you get to…555
then you get to criticize our own work, like better …if we can see…if we can like put it out there and then see it from a,556
from a different perspective, you know what I’m saying …557
So if I can clarify..maybe if you only get feedback from a lecturer or criticism you do tend to take it personally;558
but because you’re getting feedback from a whole lot of other people as well…you think, oh! Okay maybe it559
wasn’t because of [interruption]560
It’s all relative561
…Okay, so you take the good with the bad...562

211
As well as I think technology is huge and we must be taught not to fear it ‘cause it’s so vast; you don’t know where to563
start; so it’s intimidating; I think fear is a…it’s not really the technology itself it’s the fear….so the more you, you make564
us dependent on it, the more we feel comfortable around it; so, the more briefs on, online, then the more comfortable565
we’ll be going online to, to look for, for the briefs… the more comfortable we are.. so I think and I mean that graphic566
design as a whole relies on technology and if the internet was to shut for one day… I promise you, we’ll all lose our567
jobs…. lose our minds…… for one day I gone nuts…I need to see other work so…568
So ja, we need to be taught the importance of it and have it more, more from day one… of, of, of graphic design, so,569
ja, the importance of it and the danger of it as well….570
So, like just back to the first thing we said is that don’t…before it becomes the general practice…. you need to look at571
what’s available to..ummm… ja572
But it is available at varsity..once you’re here. Then the playing fields level; you’re saying maybe at home…it’s573
not quite as fair?574
Ja, so keep that in mind575
So you must have a balance between what is needed at home and what is needed here.576
Last year…like my first year …..using the internet for such a long period ….. (inaudible)577
But do you think people need more training in how to do that or do you think everybody… [Interruption] more578
introductory, sort of, and not presume that everyone knows. Do you want to say something?579
No580
Ja… I just think that it should be introduced ‘cause umm.. I mean we all come in different schools, like not everyone581
know about computers, know how to operate them and stuff, so if, like first year, like everything is like, go to everyone,582
like you know, then it’ll be cool..583
Make you feel more comfortable…584
Ja585
Are you happy with what’s been said?586
Like Veronica once the basics is taught and everyone’s like at the same level, then you can build on that …587
And you can also help each other maybe…Brad, last closing note…time’s up. Okay great, thank you588
everybody. Do you want to say one last thing?589
After people have been introduced to the internet umm.. it’s also encouraging when the lecturer is umm.. they, they590
give a site that we can go to and.. because when you, you, you, are in Varsity umm…like I’ve been noticing most of the591
time, students they … like, live to pass… you live for the 50% at the end of the year umm.. and that is not good592

212
because the thing that we are taught here, we are taught to be good designers, not taught to get a 50% of the mark; so593
regardless of whether you get 50% of the mark at the end of the year umm… but then you should, you should be a594
good designer after, after you get your diploma…so it is encouraging with the internet where, where, where we get595
pdfs umm.. and pdf and certain things to see certain people’s work, get encouraged and, and, and not live for the mark596
but live to be good designers and explore [interruption] but it’s not about marks at the end of the day …597
People need to start realizing that…598
3 years from now you won’t even remember…599
They need to realize that this now, is the time to take advantage of, of your time and that you need.. if you get to the600
end of third year and you’ve only…’cause I’ve also what I was saying to you the other day, Sharon, like, like a literature601
degree; you’ve finished that, that’s four years of studying, everyone is on level playing fields, you know… [interruption]602
Design is your portfolio is what sells you and if you haven’t worked hard for three years, that’s going to be so obvious603
in what you’re looking at…604
Vey true, thank you605

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