This study was designed to explore children visual thinking peculiarities. Participants were 201 children (133 girls and 68 boys). Firstly, two age groups were formed (6-11; 12-18). Within each age group children were assigned by studies (children attending the school of Art and children from the higher grade school ). Children were shown six topics, which they had to represent (using paper and 12 colors) in such a way, that a stranger could recognize the represented topic. Different results occured. Children in the age 6-11 from the higher grade school used less colors in their drawings, the color didn’t introduse any symbolic meaning, as to the content- it was concrete (94,4%), while 12-18 year old higher grade school children and adolescents and 6-11; 12-18 year old children and adolescents from the school of Art introdused quite opposite results: their drawings were mainly abstract (80,4%, 84,4%, 89%) and carried symbolic meaning of color.

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History teaching has its own peculiarities as every teaching subject. At the first sight history teaching is not very different from other subject teaching, but it is not so. For example, while teaching geography, there is a possibility to observe tides, mountains, active volcanes, the change of climate, effect on production etc. While teaching biology, the visual aids can be used observing the researched phenomena, they can also be applied in acknowledgment of this area phenomena. However, it is impossible to see the past directly learning history. There are no more wars and battles, peace, country borders exchange, solemn wows, which used to be given, revolutions and rebellions. It is only possible to imagine them. That means, that the demand of visual thinking, which could only be realized by visual arts, appears in this case, and in the case of history taught at school history coursebooks, illustrations are needed. The aim of the work is to show that illustrations of history help to develop visual thinking. The object of research is the development of visual thinking during history lessons. The objectives of the work are to analyze philosophical, pedagogical, phychological literature, studies of art, related to the analysed topic, to show the conception of visual thinking, to present the survey of history coursebooks polygraphic development and the survey of illustrations art change, to research educational premises in the development of visual thinking. In this work the... [to full text]

This study is a multi-method exploratory quantitative and qualitative examination of the degree to which students produce, share, and learn vocabulary and cooperative skills as they carry out three types of individually and cooperatively structured art-based tasks regarding carefully selected and sequenced artworks. The artwork was selected from, and the tasks were adapted from Visual Thinking Strategies, an approach for teaching art appreciated and critical thinking skills. There has been little research that reports the degree of vocabulary through the use of images in general, very little research on cooperative learning and language learning, and an extremely limited amount of research on cooperative learning carried out in the field of foreign language learning through the use of artwork in the Japanese context. This study aims to fill these gaps. There were five main purposes of this study. The first purpose was to explore the range of vocabulary elicited through the cooperatively structured art-based tasks regarding the artworks. The second purpose was to measure students’ learning and use of two cooperative skills as they carried out the art-based tasks. The third purpose was to examine the implementation of the art-based tasks adapted for language learning in the Japanese college context investigated in this study. The fourth purpose was to explore the degree to which vocabulary is produced, shared, and learned in the adapted art-based tasks. The fifth and final purpose was a qualitative and quantitative examination of students’ attitudes towards the art tasks and towards working cooperatively in groups. To answer questions based on the purposes listed above, AntWordProfiler was used to analyze students’ production of vocabulary as they wrote their individual comments about the artworks and the RANGE feature of AntWordProfiler was used to analyze the frequency of particular vocabulary within and across groups in the group activities. The degree of learning was measured through pretests and posttests adapted from the Vocabulary Knowledge Scale. Finally an ANOVA was used to compare the vocabulary learned in the individual and cooperative drawing tasks following a Latin Square design. The qualitative study involved examination of many sources of data, including the worksheets students filled out as they carried out the art-based tasks, the artwork they drew, and audio recordings. Finally, a combined qualitative and qualitative survey at the end of the semester allowed an exploration of students’ opinions regarding art-based tasks, working and learning in groups, and the class as a whole. The results to the 12 research questions showed very little predictability in the specific vocabulary elicited, but did find patterns in the frequency of vocabulary elicited through the artworks, especially in terms of the percentage of vocabulary elicited. Students showed a significant increase in vocabulary knowledge between the pretests and posttests on all tasks, although there was a significant difference in vocabulary learned by students who did the drawing task individually for one artwork over those who drew that artwork in cooperative groups. A frequency analysis of student self-reports of their use of the cooperative skills they were taught and an examination of audio recordings showed they used and processed their use of the skills in ways that cooperative research suggests are beneficial for learning. Finally, the results of the quantitative and qualitative course-final survey showed that students had generally positive attitudes towards both the learning vocabulary using artwork and working in groups and that students enjoyed interacting and learning from fellow group members. There were some negative views of the cooperative tasks that need to be addressed in future use of these tasks, primarily making students aware of the reasoning behind the way they were being asked to carry out the tasks. The findings showed teachers can use artwork with confidence that students will learn vocabulary and that students are generally positive to the cooperatively structured art-based tasks. Future research needs to be carried out with other artwork, in different contexts, with students at different levels of language ability, and with additional art-based tasks. / Teaching & Learning

[pt] A tese discute a relação existente entre a criatividade e o design thinking e o universo da infografia e da visualização de dados, com destaque para a criação de um método de construção de infográficos a partir dos estudos empreendidos nas referidas áreas, baseados em bibliografia compatível e atual. Através principalmente da lógica do visual thinking, é elaborado um método de construção de infográficos. Além disso, o próprio infográfico aparece como possível ferramenta de pensamento visual dentro do design thinking, otimizando as possibilidades desse processo. A infografia e a visualização de dados disponibilizam um novo e vasto campo de trabalho para o designer em parceria com outros profissionais. No entanto, existe uma carência de métodos de construção e desenvolvimento de infográficos. O método de construção proposto pela tese para preencher essa lacuna identificada, até pela minha própria prática profissional de ensino, poderá ser aplicado tanto por designers já atuantes no mercado quanto ensinado a estudantes de Design ou Comunicação. / [en] The thesis discusses the relationship between creativity and design thinking and the universe of infographics and data visualization, proposing a method of construction of infographics from studies in these areas, based on current and compatible bibliography. The method of development of infographics follows the logic that belongs to visual thinking. In addition, the infographics itself appears as a possible tool for visual thinking within the design thinking, optimizing the possibilities of this process. Infographics and data visualization provide a vast new field of work for the designer in partnership with other professionals. However, there is a lack of methods for building and developing infographics. The method of construction proposed by the thesis to fill this gap identified, including my own experience as a professor in this area, can be applied both by designers who are already in the market as can be taught to students of Design and Communication.

Concept cartoons are a didactic tool, which are alike cartoons and address concepts and phenomena within the science subjects. The available Concept cartoons on the Swedish National Agency for Education's website are mainly aimed for pupils from 10 to 15 years old, however there are only a few for pupils from 7 to 9 years old. This study aims to describe and develop various aspects in a Concept cartoon to make primary school pupils' prior knowledge visible of a specific biological content. The method of the study is design research and has been used to develop a Concept cartoon for pupils in ages six to nine, based on data from audio recording and observation. Based on a Concept cartoon conversations were held and recorded together with groups up to three pupils. Through three design cycles, we have analyzed and developed a Concept Cartoon that will highlight the pupils' prior knowledge of bird survival. In the data, some visual and textual aspects can be distinguished that are significant for the students to be able to express their biological prior knowledge. The results from the study show that students in year two discuss and relate to the visual aspects before the textual aspects in a Concept cartoon. With the removal of details that do not refer to the biological content and the introduction of false statements, students direct a greater focus on the concept of the Concept cartoon and social learning occurs. / Concept cartoons är ett didaktiskt verktyg som efterliknar serieteckningar, samt tar upp begrepp och fenomen inom de naturvetenskapliga ämnena. Tillgängliga Concept cartoons på Skolverkets webbplats riktar sig främst till årskurs 4–9, och det finns bara ett få till årskurs 1–3. Den här studien syftar till att kartlägga och utveckla olika aspekter i en Concept cartoon för att synliggöra just lågstadieelevers förkunskaper om ett specifikt biologiskt innehåll. Studien har utgått från designforskning för att utveckla en Concept cartoon för åk 1–3 baserad på data från ljudinspelning och observation. Under studien spelades samtal in i grupper om 2–3 elever i årskurs två där samtal har förts tillsammans med eleverna utifrån en Concept cartoon. Genom tre designcykler har vi analyserat och utvecklat en Concept cartoon som ska framhäva elevernas förkunskaper om fåglars överlevnad. I data kan några visuella och textuella aspekter urskiljas som är betydelsefulla för att eleverna ska kunna uttrycka sina biologiska förkunskaper. Resultatet från studien visar att elever i årskurs två diskuterar och relaterar till de visuella aspekterna före de textuella aspekterna i en Concept cartoon. Med borttagning av detaljer som inte syftar till det biologiska innehållet och införandet av falska påståenden, riktar eleverna ett större fokus på konceptet för Concept cartoons och ett socialt lärande uppstår.

M.A., Faculty of Humanities, University of the University, 2011 / With the increasing prevalence of autism on a worldwide scale, new teaching methodologies need to be explored in order to educate children with autism helping them to achieve their maximum potential. It has previously been established that many individuals with autism use visual opposed to verbal modes of thinking and learning. In this study action research was used to examine if high imagery instructional methods of teaching could be used as a teaching tool for autistic children attending a special needs school. This study examined whether there was a change in the classroom performance of three autistic children after a 5 month period of high imagery instruction, as compared against a baseline of response to previous instruction, as well as the pattern of verbal and non verbal abilities manifested at time of intake into the programme. Analysis of the results of initial cognitive, language and perceptual tests was thus undertaken for diagnostic purposes, combined with analysis of initial response to teaching prior to high imagery intervention. Once this base-line had been established, analysis of school readiness and scholastic tests was then undertaken pre and post intervention, combined with in-depth interviews with the children’s teacher, analysis of developmental diaries and analysis of work done as part of the school programme followed by each child over a five month period of intervention. At baseline all three children were found to have phonological weaknesses, as evidenced by difficulties isolating onset sounds in words, difficulties with rhyming and difficulties in skills such as blending sounds into words. Two of the children in the sample showed little to no response to the high imagery instruction, and continued to have difficulties with reading and pre-reading tasks involving working with the sound structure of the English language. The third child in the sample showed an increase in phonological skills and in reading, writing and spelling abilities in response to high imagery instruction, as well as an increase in both vocabulary and the non-verbal abilities involved in drawing . It was noted at base-line as well as throughout the study that visual memory was an area of strength for this child, but not for the other two children in the sample. The child who made progress was also able to use his visual strengths to develop associations between sounds and letters. The conclusions from this exploratory study are that not all children with autism learn through use of visual strategies in teaching. The success of high imagery teaching strategies when used with a child with well developed visual memory abilities would suggest that high imagery instruction could be a useful and successful teaching strategy where children with autism exhibit well developed visual modes of thought. Strengths in visual memory and in visual association may be indicators of the likelihood that a child with autism will respond positively to high imagery instruction.

This research proposes that design and visual thinking in combination with narrative theory contribute to enhance knowledge of innovation processes and support managers in their work. In particular, the focus is on the use of Storyboarding to support a better definition of a project’s brief. Innovation studies have shown that the initial phases of innovation processes (typically called the “front end of innovation”) are crucial for success. A proper definition of a brief, that occurs at the front of the front end, is therefore one of the most relevant events in innovation. This study investigates the early phases of innovation by developing and evaluating a new method for developing a brief. First, an explorative approach has been used in order to develop knowledge of challenges in the front end of innovation and how design thinking, visual thinking and narratives can bring new insights in teamwork. In this explorative search the use of case studies has been employed. Then, the explorative search has focused onthe use of Storyboarding as a tool for reflection, and in particular for igniting dynamics of framing and reframing of innovation problems. Finally, in order to create a deeper knowledge in the use of storyboarding three hypotheses has been evaluated, four experiments has been conducted with the involvement of more than 60 people defining innovation briefs. In these experiments, storyboarding (visual and narrative) has been used to support “thinking” that leads to the brief. In other words, storyboarding has been seen as a process to enable innovation teams to think differently or more precisely, rather than just a tool to represent or to communicate the brief. The experiments show that using storyboarding has effects that can support innovation management. First, storyboarding is useful if management wants to “stimulate” a reflection on meaning when developing a brief, i.e. when they want an innovation team to consider both utilitarian and emotional/symbolic factors in an innovation process. Second, Storyboarding brings a narrower focus, compared to traditional written briefs, within the “area of interest” brought up by management, which sometimes may be asked for when the organization is in search for reframing the direction of innovation. / Denna avhandling föreslår att design och visuellt tänkande i kombination med narrativ teori kan bidra till en bättre förståelse och ledning av innovationsprocesser. Framför allt med fokus på användningen av storyboarding för att stödja en bättre definition av ett projekts uppdragsbeskrivning, eller som det kallas en ”brief”. Tidigare innovationsforskning har visat att de inledande faserna av innovationsprocesser (vanligen kallad “the front end of innovation”) är av avgörande betydelse för att innovationer skall nå framgång. En ordentligt utformad ”brief”, formulerad tidigt, i de inledande faserna av innovationsprocessen är således en av de mest relevanta händelserna för framgångsrikt innovationsarbete. Denna forskning bidrar till kunskap i de tidiga faserna av innovationsprocessen genom att utveckla och utvärdera en ny metod för att utveckla en ”brief”, storyboarding. Först så har en explorativ metodik använts för att skapa förståelse för de tidiga faserna av innovation och hur metoder och teorier från design, visuellt tänkande och narrativ kan ge nya insikter i teamarbete. I denna explorativa del så har fallstudier använts som forskningsstrategi. Därefter så har mitt sökande efter förståelse fokuserats på användningen av storyboarding som ett verktyg för reflektion, och i synnerhet att formulera och omformulera inramningen av möjligheter för innovation. Slutligen, för att skapa en djupare förståelse av storyboarding, så har tre hypoteser utvärderats med hjälp av ett antal experiment med mer än 60 personers deltagande där team utvecklar en ”brief”. I dessa experiment så har Storyboarding använts för att stödja teamens “tänkande” för att utveckla en ”brief”. Med andra ord så har Storyboarding setts som en process för att möjliggöra för team att tänka annorlunda eller mer exakt, snarare än bara ett verktyg för att representera eller för att kommunicera en ”brief”. Experimenten visar att användningen av Storyboarding har ett antal effekter som kan stödja ledning av innovation. För det första kan vi se att Storyboarding kan vara användbart om man vill “stimulera” reflektion kopplat till innebörd (meaning) när man utvecklar en ”brief”, dvs. när man vill att ett team ska överväga både funktionella så väl som känslomässiga/symboliska faktorer i en innovationsprocess. För det andra så skapar storyboarding en ”smalare” definition, jämfört med traditionella skriftliga ”briefs”, inom det av ledningen valda fokusområde. Detta kan vara önskvärt när ledningen söker efter nya möjligheter för innovation.

In this work is analysed problem – younger and older teenager and young adult visual thinking peculiarities and education. Objective of this research is to find younger and older teenager and young adult visual thinking peculiarities and provide recomendation for education of visual thinking. Research task: 1. To analyse visual thinking development singularities in nonfiction education and psichological literature. 2. Compare younger and older teenager and young adult visual abstractiveness level. 3. Compare younger and older teenager and young adult colow expression of images expressing notions: „happyness“, „anger“, „fear“, „sorrow“, „fault“, „shame“. 4. Compare younger and older teenager and young adult expression using shapes of theese notions („happyness“, „anger“, „fear“, „sorrow“, „fault“, „shame“). In this work used theese methods of objective: analyse of science literature, grapic objective, that is drawing task, data – processing using PC (SPSS package), statistics. I have used graphic research methodology provided by D. Jurkšaitė (1982): using colors and shapes express six notions („happyness“, „anger“, „fear“, „sorrow“, „fault“, „shame“). In this research used these colors: yellow, orange, pink, red, hirsch, light blue, blue, purple, salad-bowl, green, brown, black. Task perform time infinitive. In objective attendanced 150 respondents, in three age groups: 50 younger teenagers, 15-16 years, 50 older teenagers,18-21 years and 50 young adults, 22-27 years... [to full text]

Art-oriented pedagogical approaches have been successfully applied to optics and photonics education. We will describe how art-based programs that incorporate a Visual Thinking Strategies (VTS) approach can be used by optics and photonics educators. VTS encourages both a deep appreciation of the content of optics images and phenomena and a highly participatory approach to understanding them. This type of approach has been used by the authors in a variety of educational settings including teacher professional development workshops, museum and science center-based programs, after school programs and in two-week intensive summer academies for students. These approaches work well with multiple age groups including primary and secondary grade students, university students, and adults who may have little apparent connection to optics and photonics. This art-science hybrid approach can be used by university professors, optics/ photonics professionals who do public programs, museum educators, and classroom science teachers.