Tools for Developing Learning Skills in Children

The natural way for a child to learn is through play. For children play and learning goes hand in hand; they will benefit from learning situations that are enjoyable. By using building blocks, working with jigsaws and threading toys, and matching colors, textures, and shapes, children acquire essential skills, which enable them to learn to read, write and count.Children will invent their own games and toys, but well-designed toys can provide stimuli for exploring and discovering new things. Toys need not be expensive or complicated. The best toys are ones that fascinate a child and to which he will return again and again. Often a household item will provide your child with the kind of playthings he needs to ensure future intellectual achievement, it is not necessary to buy even one educational toy.Providing a Stimulating EnvironmentOne of the ways to encourage your child’s development is to foster creative play with an inviting environment. The way you display your child’s toys to a large extent determines whether they will be played with or not. Toys that are piled high are not inviting, whereas toys arranged into little scenes, stimulate him to sometimes even make other creative arrangementsIt helps if there are spaces to play in, particularly activity areas, like a painting table and somewhere he can splash about with water. An interesting environment should not only be confined just to indoors. If you have a garden, fill it with suitable equipment, like swing, a slide, and even a little play hill-all of which stimulates your child’s imagination


Choosing ToysParents sometimes feel frustrated when they spend hours choosing the safest, most colorful, most fun, and even educational toy for their child, only to learn that he will be clinging to his old toy. It is almost impossible to choose a ‘best toy’ for your child. The one that is best for his is the one that fascinates him endlessly, and to which he will return gaining more and more stimulation and enjoyment and will provide him the greatest learning experience.The less formed ad more basic a toy, the more possibility it leaves for a child’s imagination and may help his creativity, more than a very expensively dressed doll which can only be one character.One of the most important things to remember is that children change very rapidly, especially in the first 3 years and that a toy which entertains a two-month-old, will not entertain a two-year-old. As they develop they need different stimuli and the choice of toys must reflect these needs. The toy chosen must be appropriate for his age. If it is too good advanced then he will not know to play with it in the proper manner, and will not gain enjoyment. If on the other hand, it is too primitive, he will get bored easily. Toys must stimulate all the 5 senses-vision, hearing, touch, smell and taste.Having decided upon the appropriate type of toy for him, you must also consider a few more things. Is it completely safe? Is it stimulating? Does it have play value? Is it fun? For example, a bag of bricks is a ‘good’ toy to buy because it can be enjoyed at different ages with pleasure and will stimulate imaginative and active play. Toys that fit together or snap together teach children that they can change the appearance with dexterity.Safety is also a very important consideration when choosing or making a toy. You must not only check for dangerous design faults when purchasing them but also at check for defects at regular intervals. It is impossible to provide a child with a totally safe environment. However, you must take sensible safety precautions and satisfy his inquisitiveness with safe indoor toys. Your children must always be properly supervised and never left to play alone outdoors.Using Household Items to Make ToysYou do not have to spend a lot of money to provide him with the best toy money can buy. A quick look around the kitchen can provide your child with hours of fascinating fun.ContainersPlastic food containers are the most versatile household toys. Plastic containers of different sizes can be used for putting in-taking out games. Put a few dried pulses in a firmly closed container and you have a rattle saucepans with wooden spoons create drum sets.FoodDried pulses can be stuck on pieces of card to make kitchen collages. Vegetables like potatoes and carrots can be made into printing blocks.Paper GoodsToilet rolls with a little decoration make finger puppets. Hand puppets can also be made from paper bags. Empty cotton reels when threaded together makes a good pull toy, especially if painted to resemble a caterpillar.Avoid T.V. in Young Kids


TV has the mesmerizing and numbing effect on children and cuts them off from the direct experiences of their own world which are needed in order to develop. TV cuts down on the amount of social contact with the parent which is important for social and linguistic development.Books and ReadingA single way, in which a parent could enrich a child’s environment, is by having books in the house. Words are crucial to the way our brains function. Books provide children with words to express feelings, ideas, and thoughts. They explain the world he lives in. They provide the tool for imaginative play, introduce ideas and are fun.Try to read to your child every day, or even several times a week and preferably at the same time. Choose books that are visually appealing with illustrations. Children like photos of people, places, and events, with which they are familiar.Fairy tales are fascinating to children, and they will learn to distinguish between real and unreal. They also encourage abstract thoughts and creative thinking.The vocabulary should be easy to understand and the print big. Run your finger along the print, but do not force him to follow your finger. Make him notice things in the pictures. Re-read books for your child, especially if he asks you to. Don’t stop reading to him even though he starts to read by himself. Teach him to take care of books. Store books on low bookshelves in his room as this will encourage browsing, and always have a variety on hand.

What Is UX Design?

User Experience is a conglomeration of tasks focused on optimization of a product for effective and enjoyable use. User Experience Design is the process of development and improvement of quality interaction between a user and all facets of a company.U ser Experience Design is responsible for being hands-on with the process of research, testing, development, content, and prototyping to test for quality results. User Experience Design is, in theory, a non-digital (cognitive science) practice but used and defined predominantly by digital industries.

Introduction to UX Planning
The easiest way to approach the planning phase for UX projects is to determine the approach you think ought to be taken for a project, then examine the constraints and amend the approach based on these constraints. This should enable you to determine budgets and timescales if they weren’t given to you by your potential client beforehand. UX projects that are well planned are easier to execute and offer a higher chance of succeeding than those that are managed on an ad-hoc basis For designers working in the ever-changing field of user experience, it’s always important to consider the fundamental principles of design. At many levels, the nature of the work that we do constantly shifts and evolves-whether we’re designing for new technologies or different contexts, ranging from apps for personal use to cross-channel experiences. When we’re called upon to solve design problems that we haven’t solved before, design principles provide a sound basis for devising innovative solutions. All of these trends have required us to look at design afresh and come up with new interaction models, design patterns, and standards-many of which are still evolving.

Visual design trends shift as well-sometimes for the better; sometimes not. For example, in the recent past, we saw the prevalent use of small, light-gray fonts that were both too small and too low contrast for good readability-for almost anybody, not just those with serious visual deficits. Now we’re seeing bigger fonts-solving that readability problem. UX Design Principles course provides foundational level skills for those interested or working in user experience design. The workshop covers aspects of designing for web, apps, and mobile. This UX workshop is suitable for designers, business analysts, product managers, and developers. No UX or design previous experience is required. It serves as the foundation for the UX Classes as well as the UX Certificate program at American Graphics Institute.

What is UI Design?
User Interface Design is its complement, the look and feel, the presentation and interactivity of a product. But like UX, it is easily and often confused by the industries that employ UI Designers. User interface design (UID) or user interface engineering is the design of websites, computers, appliances, machines, mobile communication devices, and software applications with the focus on the user’s experience and interaction. UI Design is closer to what we refer to as graphic design, though the responsibilities are somewhat more complex. Human-Computer Interaction (HCI) integrates concepts and methods from computer science, design, and psychology to build interfaces that are accessible, easy to use, and efficient. There are three factors that should be considered for the design of a successful user interface; development factors, visibility factors and acceptance factors. Development factors help by improving visual communication. These include: platform constraints, toolkits and component libraries, support for rapid prototyping, and customizability. Visibility factors take into account human factors and express a strong visual identity. These include human abilities, product identity, clear conceptual model, and multiple representations. Included as acceptance factors are an installed base, corporate politics, international markets, and documentation and training. There are three fundamental principles involved in the use of the visible language.

Do’s and Don’ts of UI and UX Design
User experience online is very similar to the user experience you get when going to a grocery store. You want a pleasant time without any hassle. You want to be able to navigate the store quickly, get what you need right away, head to the checkout line without a wait, and get back home. You don’t want to deal with a slow cashier, items not where they should be or out of stock, hostile employees, or a crammed parking lot. You simply want what you came for (groceries) and be on your way. Stores understand this and have spent a considerable amount of time and money to help you navigate the store easier, make sure items you want are in stock, and to provide fast and friendly checkout lines. It may seem a bit corny to think of UX design in terms of going to your local grocery store, but the experiences are similar. Our customers are visitors to the sites we create, and the groceries are the content in which they came to the site for. For those of us who go to the store, it’s easy for us to pinpoint things that irritate us or think should be improved. However, when it comes to our own designs and user interfaces and the creation of them, we may not be able to point out these irritants ahead of time before users do. We can fix this by taking a step back and look for these weak points in our design, so that we don’t cause them unnecessary frustration and keep them on our site so they can get to the content they were looking for. To help us designers step back and look at our designs and user interfaces from the eyes of the visitor, let’s run through some do’s and don’ts to look out for so we can help them get exactly what they came for without irritation or a bad UX.

1. DO: Provide a similar experience regardless of the device Visitors are coming to your site using many different types of devices. They can visit your site on their desktop or laptop, tablet, phone, music player, game console, or even their watches. A big part of user experience design is ensuring that no matter how the visitor sees your site, they are getting the same experience they would if they were to visit from another device. This means that if a visitor is seeing your site on their phone, they should still be able to find everything they need without trouble just like they would if they were viewing your site on their desktop at home. A seamless experience across all of your devices helps keep your users on your site regardless of the device they are using.

2. DO: Provide instantly recognizable and easy-to-use navigation The key to providing a pleasant user experience for users is to understand that they are in search of content. They want information that you are providing on your site. The way they get there is by using your site’s navigation to quickly get to the content they are looking for. Provide a user-friendly navigation system that is easy to recognize and easy to use. Design your navigation in a way that gets visitors where they want to go with the least amount of clicks as possible while still being easy to scan and locate where they need to go.

3. DON’T: Letting the design of the site hinder the site’s readability The design of a site or user interface should never interfere with the user’s ability to consume the content on the screen. This includes having busy backgrounds behind content or poor color schemes that hinder the site’s readability. Busy backgrounds cause a distraction and take attention away from the content, even more so if the busy background is directly underneath the content. In addition, be careful not to use color schemes that decrease the contrast of the typography on the screen (i.e. light gray type of a white background). Focus on the typography of your site to ensure issues such as line length, line height, kerning, and font choice doesn’t pose issues for readability.

4. DON’T: Hindering a visitor’s ability to scan the screen As I mentioned above, users and visitors alike often scan the screen quickly before settling in to read any one particular thing with focus. Users often scan for visual cues such as headings, pictures, buttons, and blocks to know where they should focus their attention. If you start removing these items, it makes it hard for users to scan your content to find what they are looking for. Using appropriate headings that are easily seen, pictures to illustrate points, buttons for navigation, and blocks of content that are unique or important help users scan the screen to find what they need.

5 Trends to Get Killer Logo Design in 2018

In this increasingly noisy world, where every day a new brand or product launches every second of a day, what would it take to make people remember you as a business or as a brand? A stunning, creative and memorable logo design with impeccable marketing tactics. Logo Designs is all known for such hefty job when it comes to do it all. Therefore, keeping your branding strong, modern and based over latest trends will not only give your business a competitive edge but will also perform exceptionally to attract more customers to your door and help them to recognize you with to experience similar ambiance.

Keeping your logo design contemporary helps businesses in many ways. It projects impressions that help people to identify you as a well-run and relatable brand and not like the dated trademark that does not communicate effectively. To draw attention to brands, business or even towards an advertisement, graphics, creativity, skills and all above concepts together creates a buzz and help your business to achieve goals of marketing and branding. However, when it comes to opting for professional logo Design Company, customers usually forget about the trends and demanding pattern in the design market.

Remember, a quality logo design is not always about a high-quality graphics or hues. A creative concept for the logo is barely born easily, so the cost you pay to professionals is not only about acquiring a symbol that is unique or different than the previous ones. It should comprise all the element, however, opt for companies that offer affordable packages and provide optimal quality services to design a perfect logo that defines your company, utterly.

Therefore, this article is here to educate both designers and customers to stay updated with trends that are going to sneak peek throughout 2018.

Creative Typography
In design, concepts either can make your first impression amazing or just the opposite of it. Therefore, creative typography allows today’s ventures to begin with something that has never done or seen before. In typographic logos, a designers’ skill matters most, however, giving the soul to design is all that one must strive for. In typography, regardless of which mood you choose to play with, either serious or silly, it is one of the top adaptive styles drive to create engaging visuals to get attention. A quick example would FedEx without which we cannot complete the list of our examples. Mailchimp, Cutting Room, and NME logos are considered to speak how these giants indeed choose typographic logos to define their business identity.

Apart from all the benefits that come along with this popular medium for logo designing, creative typography gives large room to play around with concept to provide a personality to the logo. It helps designers to speak-up their creative minds and builds a unique logo that is futuristic and versatile. If you believe in artistic values, then considering typography for your business to get it done in with the latest design.

Colorful & Vivid Logos
Grabbing most attention with monotone can be difficult unless a brand is not proceeding with resilient marketing strategy namely Dior and, Nike. However, recent logo design news we received regarding Apple Inc. logo speak about how soon we are going to multi-color logos in this year. Moreover, many popular platforms such as Instagram and YouTube shifted to new designing while sticking to the same frame of work with color, i.e., using vivid and vibrant hues. These examples lead us to comprehend the scope of bright and colorful logo design in the upcoming trends in logo designs.

Geometric Shapes
Typography is not the only characteristic of logo design getting popularization simplification these days. The definite shapes used in logos have recently seen with an increased focus on minimal geometry shapes, or geometry fashioned with a less-is-more approach. When you look at some of the gains of this style like versatile branding, you obtain visibility and modern concepts and ideas-it certainly clarifies that we should be expecting more in 2018.

Metaphoric Logo Concepts
Metaphors amaze minds instantly; with the design, it turns the concept into more creative characters. However, since it has been in trends for last few year, we know metaphors are probably not something new to logo designs. Subsequently, these metaphors are now expected to illustrate greater depth with impactful creativity in designs. These extremely out-of-the-box concepts have leverage metaphoric logo trends back in 2018 to amuse minds with curiosity, thoughtful ideas and unique perspective of design for any name it is expected to mold.

Subtle Animations
Years back when animated came into being; its adaptability amused people. However, back in time lack of animation logo display centers companies preferred to scale with static ones. In this era, from Facebook to website, it is easier, more attention-grabbing and animated-friendly space we have to display some of the creative concepts. Thus, keeping subtle animation to logo design seems to amuse and inspire if the concepts and design collaborate with subtle animate bring more significant meaning to logo design.

 

The State Of Graphic Design In Jordan

Jordan’s unique geographical position results in its experts choosing self development, which includes graphic design. Experts are also involved with developments taking place in neighbouring countries and the internet was extremely useful in putting interested parties in these two fields in touch with each other and sharing possible development tools. The development of Graphic Design is also assisted by annual exhibitions and specialised conferences held both in Jordan and outside the Arab world.

The academic and professional specialists for the basis in developing graphic design through the formation of local learning institutions. In these institutions academics, programmers and graphic design teachers can meet with professional designers and discuss the way business is moving forward and requirements of the labour market.

Practical training is considered the foundation of Graphic Design, upon which the academic skill of the student and his creativity are built. Working in a design office is considered to be the most important and effective tool in measuring the level of academic learning. It also gives an indication of the effectiveness of teachers in producing a generation of students capable of dealing with the academic ethos and engaging with the requirements of the profession. This training provides the students with opportunities to polish and develop their skills by working along side established practitioners. Today’s graphic design tools rely on information technology for producing visualisations of scientific developments. This visualisation requires an understanding of the scientific theory and the visualisation tools available, which in turn relies on the expertise of graphic designers.

In this paper I will focus on the profession of graphic design and its development by discussing its early development. I will review the positive and negative aspects of that development and how they related to changes in the market and the size of the market and labour force. I will also discuss the academic concepts, and the requirement for graduate graphic designers.

In this paper I draw from my experience of working in Jordan since 1987 at the MIDAS Establishment and my roles in student training at Yarmouk University and the Applied Sciences University, which I had been attached to since 1999. This paper addresses many questions and aims to explore the mechanics of enhancing graphic design in the academic and professional sectors.

The historic and technical initial stages of graphic design in Jordan

Graphic design developed alongside the printing and information technology industries. Printing was brought to Jordan in the 1940s by people who had learnt the trade in other countries. Jordan’s printing evolution was similar to that of other countries. Printing started using wooden moulds, then zinc clichés and letterpress, as well as other printing tools, symbols and shapes. It was the printing technology that restricted the scope for producing new designs. The range of items printed was limited to newspapers, cards and stationary. Printing started mainly in black and white, and was then developed to make photo made clichés through which the printers were able to print in full colour. Typolography, or raised printing was the main method and is still used today. Offset printing enhanced the quality of production, providing improvements in colour and picture reproduction. Around the same time the role of the graphic designer was developed, involving the preparation of makettes and then film montage and plates to be ready for printing (prepress); this relied on the professionalism of the film montage technician for the preparation of backgrounds for the pictures and words. Prepress was considered the most important process in the production of the final printed article. This process was carried out at the prepress service centre which was limited to a single institution until 1987. This centre had the capability and technology to perform a range of techniques where an artistic touch was required.

In the late sixties, design pioneers were not graphic designers, but had learnt the technologies of collage and calligraphy. They were able to imitate designs from abroad and in some instances reproduced them. Their work initially ranged from greetings cards, business cards, social stationary, letterheads and envelopes, then progressed to brochures and folders. The work was mainly limited to newspaper advertising which relied predominantly on the offset printing method. We shouldn’t forget the air brush technology that provided designers with the use of graded colours, achieving three dimensional effects for some designs, although the number of people using this was limited.

From 1980-87 design was performed by specialists in Plastic Arts and Architecture, as well as the first graduates of the college of arts at Yarmuok University and similar institutions. By the end of the eighties, the computer Linotype was used as a publishing tool by newspapers to prepare text for layout and paste it on the required pages next to advertising. Some publishing houses have graphic design offices which also acquired these systems to ensure the production of books and magazines to a similar quality. Linotype was also used to prepare the design of brochures and advertising materials that cannot be hand drawn. With time Linotype was also used for the preparation of other material by this method, including greeting cards, posters and advertisements.

The design and printing sectors found the computer to be an effective way of improving productivity. In 1988 with the arrival of the first design computer by Apple Macintosh, the numbers of workers in the field increased and performance progressed in the pre-printing stages such as film making and separation. However, the expense of computers meant that there use was still limited. The production of personal computers by competitors of Apple Macintosh as well as the ease with which film can be processed through its programs, created a huge increase in the number of professionals interested in graphic design. This became evident by the growth in the number of agencies, design offices, publishing houses and service centres.

Personal computers affected the technical and artistic aspects of production. Some production centres were able to develop their skill base and by recruiting experienced designers and developing them by organising training courses. These highly trained individuals achieved high standards of work within and outside Jordan and were able to compete with others in the Arab regions and captured a share of these markets, producing many publications. Jordanian specialists became serious competitors against other Arab countries which had previously monopolised the fields of design and printing. Jordan has developed so that it can meet the demand for design and printing within the country. Jordan has become a magnet for many publishing houses in the Arab region. Many production and publishing organisations were able to catch up to the levels of the latest technology. There is plenty of evidence to suggest that they will develop further, using modern production tools, and this will ensure there are enough local specialists who can continue to produce work of the highest quality.

The pace of technological development made it necessary for the academic institutions to provide the Jordanian market with the skilled workers who can work to the high standards required. These institutions have to continually adapt to the advancing technology as well as support the academics in their quest to enhance the artistic, scientific and technological aspects of production and publishing. Relationships must also be strengthened by co-operation between business leaders and academic institutions in order to provide the mutual benefit of improve standards, with the ultimate aim of keeping up with both local and international developments.

The easiest way to judge the standard of design and printing in a country is through the newspapers, magazines and books published. Television also provides a showcase for visual communication through locally produced advertisements. The speed of printing development has made impositions on graphic design and the designers themselves. Designers have to continuously update their training to keep abreast of new technology. This enables them to be at the forefront of improving quality and creativity in all aspects of production.

The advantages and disadvantages of sectors allied with graphic design

When discussing the organisations involved in design and production in Jordan it is easy to become overwhelmed by the variety and abundance of them. These organisations saturate the market. One of the reasons for the number of organisations is the variety of production formats, each of which has its own structure. Computerisation has lead to many operators being made unemployed.

Production sources can be divided into;

- Design

- Commercial printing

- Publishing houses

- Pre-press services centres

- Computer software training centres

These are the organisations where people often look for graphic designers, although most of them do not have academically trained staff who specialise in graphic design. Many of the people who own these organisations have chosen to specialise. Some of them specialised because the profession does not require a large capital outlay, others specialised because they had a knowledge of the tools used. Most appear to have specialised because this provides them with status in their community.

Although there are many organisations working in graphic design, the workers and owners in these establishments often lack awareness of the professional graphic design concepts as they have not studied the subject in depth. Employment opportunities for graduates only began to develop after 2000 when some organisations recognised the need for such skilled workers and academic institutions were able to produce professionals of this standard. The impression of graphic design graduates has changed so companies are no longer choosing graduates who studied abroad. Design establishments have noticed the high quality of products which trained graduates can produce with their competence and skills, and their ability to use the full range of design and printing equipment. Without this properly structured training program, experience had been gained through hap-hazard on the job training.

One of the weaknesses of those producing the designs is that they are not always confident about how to use the latest techniques. They often ask advice and prefer to work within their comfort zones, failing to produce designs that would demand a great deal of time, effort or care. Graduates are much more comfortable with change and willing to develop new skills. There are a few professionals, however, who have been invaluable in the development of graphic design by training others and developing their own technical and professional skills. These people have also monitored the pace of development in the fields of printing and graphic design.

Many of the professionals have established themselves thorough the high quality of the work they produce. This is not possible without a capable, aware and educated body of co-workers, who have scientific knowledge and are creative rather than imitating the work of others.

The increasing gap between academic designers and employers, or art directors and creative managers is often due to misunderstanding the role of graphic designers. In industry, the priority of some designers or agency owners is profitability regardless of the quality of the results.

The first problem is that some of the art directors or creative managers are not aware of the importance of their position, and often the employer is equally ignorant of this. Job titles are often arbitrary so artistic or creative managers frequently lack experience and expertise.

There is an absence of a common language between academic designers and managers or employers. This often frustrates designers, creating insecurity and hindering creativity. Such an environment can be an attempt to reduce a designers` status and restricts him from engaging in the creative thinking he would have been taught and university.

Adequacy of the professional reality

Graphic designers are distinguished from other fields by being one of the most creative professions; they work with information technology and visual communication. It also involves dealing with the business world, in which credibility and ability are necessary to achieve the creative work. Qualifications and talent are essential for this.

A graphic designer is not only an artist but also a technician who is able to use software and techniques to tackle the project in hand. His approach should go beyond communication with the audience, to effective promotion and display. His aim is to produce clarity and he should be able to do this from the information using the techniques available to him. The aim is to connect the data and in order to do this must understand the development and design of the software that could be used. He has to understand all the innovations and methods of designing texts.

The design sector requires professionals to have the experience to be able to select and classify information, and to create links between related elements. However, this won’t be enough if they can not interpret this and transform it into definite forms. It is also important to understand the vocabularies of with language, sound and music as they are the most important tools of communication. Added to this, the designer must understand how to use the specialised design software to write texts, prepare drawings, animated cartoons and websites. The designer should know about design, timing, transformation, rhythm and visual presentation.

The potential of the design sector should be realised by knowledge of the necessary theories and techniques to improve communication with the audience, enrich the design proposals and understand the reflective aspect of the design process, studies and research.

There is much variation in the qualifications of staff within the design sector. It is important to differentiate between the craftsman and the academic designer. The graphic designer is a complete cultural and intellectual entity that is noted in the sensational theory, linguistic theory, visual eloquence and the cultural history of art, literature, science, technology, industry and humanity. They cannot isolate themselves from developments in theories of communication, information development, and from management and criticism. Moreover to improve the added value of the final product, all methods and tools used in production and publication should be understood. They must understand the stages before the design, and they must understand the printing process and its implications on the design.

The market is crowded with many people working in graphic design. Due to the wide use of graphic design in many fields of work, the widespread use of computers and availability of basic software packages there is a role for people using graphic design without any prior knowledge. The expression of graphic design is still not adequately understood by some employers in industrial and commercial firms and organisations that need graphic design services.

I do not doubt the potential of the vocational sector but this is the reality of graphic design. It must be remembered that well qualified people now occupy high status positions in the Jordanian market, showing its expertise and its ability to demonstrate the highest levels of graphic design.

The size of the market and people working in graphic design

There are now more than five hundred establishments working in graphic design. There are many who would not classify themselves as an agency, centre or office, as they have found their own market niche. Therefore these classifications can not be meaningfully applied in Jordan.

The sector is large compared to the market. The establishment of new graphic design organisations peaked in 1999. Since then, some have declined while others have expanded. Some have stagnated or changed management, while others have merged.

A quick look at the design sector will show that 85% of those working in the field can be classified as;

- Computer science graduates

- Architecture graduates

- Interior design graduates

- Graduates in ‘Computers and the Fine Arts’ from community colleges

- Fine arts graduates (both graphic design specialists and non-specialists)

- Graduates of design courses run by computer centres

- Unemployed people who are interested in computers

University educated graphic design graduates fulfil an important role because;

- Universities produce Graphic Designers with a different outlook to those mentioned above.

- Organisations run by people who understand graphic design will be better able to develop designers skills and adapt to the future

I am concerned for students who study graphic design at university but do not try to improve his rate of innovation and creativity in order to improve. This will affect whether he is employable.

Academically and scientifically talented students will have few problems because good employers need students who are able to form ideas quickly, use appropriate design programs for his ideas and able to produce those. Other organisations are not useful for the academic designer. These are the push-pull level of the graphic design sector which reflects the levels of awareness of the concepts and functions of graphic design.

The market is capable of absorbing all graduates. This is dependent on the development of visual communication methods through graphic design. Such development requires the presence of skilled workers capable of meeting the needs of the market. This places incentives for educational organisations that deal with design to plan to suit the graphic design market.

The academic reality of graphic design

The emergence of academic institutions that specialised in the arts started at the Yarmouk University where the first arts and music department was established in 1980. This became a faculty in 2001, teaching drama, design (industrial, interior and graphic), plastic arts and music. The university awards bachelor degrees. It started in 2001 at the height of the computer revolution within the design sector in Jordan. In1991 teaching graphic design started as an independent specialisation within the Arts Department at the Applied Sciences University. This was followed by the Ahiya Amman University, the Petra University, Philadelphia University, AlZaytouneh University, the University of Jordan, and later the Israh University.

Apart from universities, during the time when graphic design became popular and a profitable profession, community colleges started teaching graphic design. These included the Al-Quds College, Granada College, Middle University College and Princess Alya College.

The work of the universities that award bachelor degrees is similar to colleges that grant two year diplomas, because both produce students with a certificate in graphic design. But in reality where creativity and technical skills are concerned we find differences. The differences are in the course curricula, and include understanding the production process, product identity, knowledge of software and design innovation.

There is confusion between graphic design and graphic art. These differences affect the student, particularly when he enters employment. He is judged by both his creativity and innovation in producing new ideas and his ability to use technology which now involves the computer, the main graphic design tool.

The reason for these differences becomes clear when we look at the number of workers in the market and where they graduated from. During the time that the largest number of graduates were being produced, the highest quality graduates were produced by well-known institutions and these were recruited by the most successful companies.

A distinction has developed between technicians and designers. This is because some academic institutions concentrate on technology and the practical aspects of design software, whilst others developing the ability to use knowledge and know how to connect ideas to the psychological and social context and include qualitative studies of theories and design curricula.

The reasons for this are;

- The absence of specialised academic experts in graphic design and the poor quality of some of the teachers.

- The absence of appropriate study plans for creating graphic designers

- The absence of a system defining the role of universities and colleges in teaching graphic design

- The absence of entry examinations to graphic design courses, unlike courses in the art specialisations

- The absence links to the outside world, other than through books.

- Some universities and colleges do not understand the concept of graphic design in an industrial context.

- The absence of official government support for finding a way to establish a core curriculum for university courses.

I have taught in the art departments of a number of universities and have assessed many graduation projects. These gave me the opportunity to find out about graphic design teaching, the standards of students, and showed the need for appropriate study plans. There is a lack of competitiveness which would improve educational standards and there is an arbitrary use of teaching methods. Objectives can be clear, but often mistake in not using the appropriate teaching methodology leads to them not being achieved.

In order to develop and improve, the graphic design sector needs skilled and competent workers. The workers will not be able to respond to the changes in technology unless they have a formal academic training. In order to achieve this advancement it is essential that graduate students are used as graphic design specialists.

Conclusion

 

There is a requirement in the Jordanian arena for the academic and professional sectors to review their experiences and identify their strengths and weaknesses. This is used by them to set a strategy capable of giving graphic design the respected position it deserves.

There is a requirement for government intervention to provide arena where specialists in graphic design may discuss many of the concepts that help them make company owners and managers aware of how to make the best use of graphic designers.

As well as teaching graphic design, universities and community colleges must support the markets needs for designers and artisans within the new specialisations which need to be introduced in order to reduce unemployment.There is a need for a professional body in graphic design to give support to designers, co-ordinate educational and technical preparation and for making contacts with the outside world. It is important to hold workshops and symposiums that enhance the competence of teaching staff, designers and students; these should be held with assistance from international institutions which are respected in this field.

It is also important to hold national and international competitions to encourage creativity and innovation. This will create a competitive atmosphere in which graphic design can flourish.

Finally, it is important to create a national identity in graphic design, which can cement its position in the international arena.