Universal Journal of Educational Research 4(2): 422-425, 2016 http://www.hrpub.org DOI: 10.13189/ujer.2016.040216 The Effectiveness of Teaching Methods Used in Graphic Design Pedagogy in Both Analogue and Digital Education Systems Salman Alhajri Department of Art Education, College of Education, Sultan Qaboos University, Sultanate of Oman Copyright © 2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract Purpose: this paper investigates the 1. Introduction effectiveness of teaching methods used in graphic design The Research Problem pedagogy in both analogue and digital education systems. Methodology and approach: the paper is based on theoretical The research problem can be outlined as: the Omani study using a qualitative, case study approach. Comparison graphic design education system lacks a unified framework between the digital teaching methods and traditional towards the concept of creativity. One of the consequences teaching methods was described. Results: the paper of such a lack is a shortage of pedagogical structured programmes that can enhance creativity of Omani graphics illustrated the promises of developing creativity and students. It is believed that this is a result of underestimating innovation potentials within graphic design students, the importance of creativity in Arabic traditional educational highlighted the responsibility of design educators and systems in general [1], a system of which the Omani graphic design students in this improvement. It evaluates the educational context is part. The location of this educational importance of principles found in traditional teaching problem within the Omani (Arabic) context will also colour methods. This paper suggests a set of recommendations and the take on creativity. This is a result, also, of the absence of strategies that can enhance various intellectual and physical unified conceptions of creativity in general, Barnard [2] skills. Conclusions: the study suggests a set of argues that, “We are still operating with an unexamined recommendations to develop a framework that would be notion of creativity and we are likely to be stuck with the ideal in developing a new curriculum of graphic design teach uncritical and mystifying conception of creativity”. for undergraduate students. To solve this research problem, at least partly, it is hypothesized that there is an immediate need for a Keywords Teaching Graphic Design, Graphic Design pedagogical model that can offer a systematic approach for Curricula, Analogue Education, Computerized Education, graphic design lecturers in Oman to guide them on how to Developing Creativity stimulate their students’ creativity. It is argued that such a model would be one step towards improving the state of creativity within the Omani design education system. Universal Journal of Educational Research 4(2): 422-425, 2016 423 Figure 1. The causes of the research problem Another argument that underpins this research is that “the individual creative description is part of the general process which creates conventions and institutions, through which the meanings that are valued by the community are shared and made active”. Therefore, it can be argued that if educators are interested in establishing a central role for creativity in universities and higher education institutions, they need to ensure that there are suitable opportunities, a supportive environment, and enthusiastic motivation for their students. This is in addition to activating innovative and imaginative experiences whilst teaching graphic design. But, more importantly, it is argued that to ensure the flourishing of graphic design education in developing countries, a deep understanding of the importance of creativity is required in the first place. Figure 2. Educators’ roles in establishing a central role for creativity in universities 424 The Effectiveness of Teaching Methods Used in Graphic Design Pedagogy in Both Analogue and Digital Education Systems Traditional Omani Graphic Design Education to other people’s ideas, and obedient” [7]. To sum up, successful systems of teaching graphic design Graphic design is a broad area of study. It is believed that may require the use of advanced technologies alongside graphic designing is a quite ‘creative’ practice and requires certain traditional educational methods. Kelly [8, p153] thorough problem solving skills. In the field of graphic asserts that the “computer provides the student with endless design, most literature entails the processes used in the field. options of size, arrangement, choices and colours. Each Besant, Whyte and Neely [3] believed that design is a option is an opportunity to make a decision”. It is argued here purposive application of creativity and leads to a vast array that the only thing worse than a solely digital design of innovations. education, is a solely analogue one. Therefore, traditional A number of complex processes take place during the design education should take its place along with problem solving process involving designs. The practice of computerised learning, especially in the early years of any Graphic design is not an exception and the diverse graphic design study plan. This would help students to problem-solving contexts in the field of graphic design are explore their skills, particularly those who do not have much addressed by the use of a particular design language [4]. background in art and design. Mastering some graphic In the traditional design educational environment, graphic software does not make one a designer [6]. The software is design teachers use very basic tools such as pencils, sketches, used in place of tools and makes the process easier, but it paper, brushes, and rulers for teaching graphic skills. This does not train the mind and hand. Also, “it is necessary to type of education is explained in Heller [5, p42] who clarifies teach the design basics first, with the customary tools and how graphic students usually study typography via media, leaving computers for more advanced work” [9, p74] traditional methods: “many of them (instructors) teach traditional methods, such as setting type by hand and printing The Computerised Omani Design Education by letterpress”. However, such traditional methods can Most Omani governmental and private institutions apply develop certain qualities with students, for example; both analogue and computerised environments in teaching sketching techniques with early graphic design students. graphic design to undergraduate students. The computerised Sevak [6, p3] argues that it can “train mind and hand design education means here, the availability of advanced coordination skill”. Interaction with the medium, which is computers and devices that would help graphic students to part of the creative process, redefines established solutions produce a piece of design more quickly, but not necessarily and promotes the development of imagination. better, more appropriately or more creatively. A The traditional environment means here the conventional computerised environment provides a high level of digital system of teaching graphic design, such as manual cut and facilities by offering a wider variety of solutions for most paste. In other words, it is all about being ‘hands on’ in design problems. Therefore, it is argued that a computerised producing a piece of design. Such a system usually focuses environment can promote creative thinking and stimulate on the study of materials and mediums of basic design such students’ behaviour. Lubart [10, p365] argues, “Computers as understanding colour, form, shape, texture, light, and may facilitate the management of creative work, composition. It trains students to draw and paint, and teaches communication between individuals collaborating on them colour theories, colour circles, 2D and 3D shapes and creative projects, the use of creativity enhancement forms, space, background and texture, poster illustration and techniques, and enhance the creative act through integrated the execution of the complete design through manually using human–computer cooperation during idea production”. poster colour or Gouache colour. Even though the basic tools It is argued here that the graphic design student in such a used in this type of education can develop certain skills and computerised environment becomes more active, intellectual abilities amongst graphic design students, its role enthusiastic, and creative. Kelly [8, p4] argues, “Computers in fostering students’ creativity requires further became the significant factor in graphic design that they are investigation. today. The assimilation is so complete that it is now impractical to conceive of teaching graphic design without computers”. As a result, analogue and digital technologies 2. Discussion affect the definition of creativity, and in terms of digital technologies can foster the process of problem solving, by As a graphic design lecturer, it is believed that traditional providing advanced devices that offer multiple solutions for methods are very valuable in terms of training students to a single problem. Yet, the problem solving process remains understand, comprehend, and follow the creative design the same in both the analogue and digital environments. The process. This is because traditional graphic design teachers purpose of comparison between these two environments is to prioritize technical skill over design thinking [6]. Teaching investigate the integrated roles of the two. graphic design within a traditional environment, educators have been able to challenge students to be more questioning The Importance of Traditional and Computerised about their use of new technologies. Lecturers within Omani Systems educational culture usually prefer students who “are It is important to use both analogue and digital education courteous and considerate of others, punctual, energetic and systems in enhancing students’ creative problem solving. industrious, popular with their peers, well rounded, receptive This is because teaching graphic design in a computerised Universal Journal of Educational Research 4(2): 422-425, 2016 425 environment plays a very important role in producing However, through a deep investigation of the existing quicker solutions to design problems. Also, computers can literature, it has been discovered that there are fewer studies enhance creative thinking skills and develop the artistic discussing the importance of both the analogue and abilities of graphic design students [6, 8]. However, the use computerised environments in enhancing the creativity of of computers only affects the speed at which a solution is graphic students. This can be regarded as a gap in the produced; it does not ensure the correctness. literature; therefore, the research on hand intends to fill this It is rational to argue that designers can work more gap. Further investigation is required through collecting efficiently to increase production with computers, but would empirical data by means of a questionnaire and interviews. that necessarily mean that creativity is enhanced accordingly? Interview methods of this study have investigated the Kelly [8, p152] argues, “The designer’s current fascination situation of creativity in the Omani graphic design with the computer is easy to understand. With the computer educational context, and confirmed the importance of both it is possible to do easily and quickly those things that it was the analogue and computerised environments in enhancing difficult and time-consuming to do in the past”. Cheow [11] creativity of graphic students. argues, “Educators need to define what roles graphic designers should be aware of in their human-computer interactivity and what skills need to be nurtured”. Therefore, it is strongly recommended to use both computer tools and traditional tools and media equally. However, further REFERENCES investigation is required here. There are disadvantages of using computers in graphic [1] Almusa, A. 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