- Email: [email protected]
The process of effective critiques
ARTICLE IN PRESS
Computers & Graphics 28 (2004) 401–407
Education
The process of effective critiques Jana Whittington* Computer Graphics Technology, Purdue University Calumet, 2200, 169th St. Hammond, IN 46323-2094, USA
Abstract Effective critiquing is a sound method for assessing, teaching and learning new technology. The processes and techniques that are critical to help students develop and evaluate their technical, aesthetic, written and verbal skills can be implemented at all levels of technical expertise and disciplines. Administering an effective critique does not begin at the completion of an assignment. It begins with the creation of the learning objectives and outcomes of a specific project. The author is drawing on industrial, art and technical educational experience to prepare projects and criteria for effective critiques. This paper will point out several different methods and approaches in preparing and conducting project critiques along with examples of how to use this approach to assess an assignment and overall course learning objectives. r 2004 Elsevier Ltd. All rights reserved. Keywords: Critique; Graphic design; Composition; Art; Technology
1. Introduction How does an instructor promote continued student learning when a project is completed? How does an instructor enable students to take an active role in the professional evaluation process? After a student project has been assigned, the students have completed the project, the prepared instructor can administer an effective critique in which the students learn and participate in the experience. Administering an effective critique does not begin at the completion of an assignment. It begins with the creation of the learning objectives and outcomes of a specific project, which is created by the instructor. When the project is introduced to the class, each student should be given the project criteria. This criterion includes learning objectives, learning outcomes, due date, critique presentation method and any other clarifying information deemed necessary to optimize a successful learning experience. The criteria also has technical, compositional and design objectives that need to be met. *Corresponding author. Tel.: +1-219-989-2354. E-mail address: [email protected] (J. Whittington).
The technical criteria can be acquired through the manuals and books provided with the computer, computer software or through technical experience. The design and compositional criterion comes from my personal fine art background and years of graphic design experience. The references below are books that successfully address the compositional principles and design elements needed to apply to the new graphic technology [1,2]. The book, Learning To Look at Art, is an excellent resource in which to draw verbal and written critique guidelines [3]. This process of critiquing is well known in the Fine art field, but is also making its way into other disciplines. At the SIGGRAPH 2003 conference, there was much discussion about this process and the various fields of study that are implementing the critiquing process. Dr. William J. Joel, Professor of Computer Science Western Connecticut State University stated at the SIGGRAPH 2003 conference that he is using the process to expose students to various coding solutions within a project. His students often have a mid-project critique to resolve issues before the project is completed. Other instructors discussed issues using the critiquing method in courses such as technical writing, science, various areas of graphics, animation, traditional fine art
0097-8493/$ - see front matter r 2004 Elsevier Ltd. All rights reserved. doi:10.1016/j.cag.2004.03.007
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as well as programming courses. While the majority of instructors were very interested in using the critique process, there was much discussion about the problems encountered. Some exclaimed that they had never, themselves, experienced the process in their field of study and were not sure how to approach the method, while others in the fine art field expressed some negative results and pitfalls in the process in their field of study. Martha Lee, Instructor/Lab Manager in the Art and Graphic Design Department at Yavapai College, Prescott, AZ, stated that one of the major issues in conducting a successful critique was the student’s lack of vocabulary. She stated, ‘‘The pitfall is that students are trying to explain verbally something that was accomplished in a non-verbal process’’. Critiquing is important because the processes and techniques are critical to help students develop and evaluate their technical, aesthetic, written and verbal skills. This process can be implemented to address the various levels of technical expertise and disciplines within the classroom.
2. Courses and assignments Critiquing is an assessment process that originates in the traditional fine art field and is making its way into the new technology. (The new technology in this particular paper is defined as combining science, art and computer technology). The critiquing process has been used in enhancing programming skills, coding and scripting for web sites and in technical graphic courses. With the onset of the new technology, many art and graphics instructors are struggling with the changed process. Teaching art and design is now combined with many new technical skills that have to be learned in the process. The cognitive analytical process needs to be fostered with creativity and creative solutions. Addressing and evaluating multiple issues in each project can be confusing for the student to grasp and understand. Instructors need to be able to develop a process for each project. For example, in a HTML coding and scripting course, students were assigned a four page website project. In the onset of the project introduction the criteria was addressed. The criterion states that students are to hand code the website, interactive and human computer issues are addressed, design and compositional criteria are introduced in discussion and written format. Since design and composition have visual biases, it is best to show examples of how line, shape, color, form, texture, light and space are used to create balance, harmony or rhythm within a project and the success of the human computer interface (HCI). In that same respect code can be brought up to show how the technical process was accomplished and its relationship to the overall design.
The coding process is very important in this project, because the pages will not function properly if the coding is not done correctly. Even though we address the aesthetic elements in good web page design, the technical aspects are given much more attention in this particular course and assignment. By showing the students examples, it gives them a foundation in which to work and an understanding of the criteria. Many times I will show examples and address problems that occurred within the examples, both technically and aesthetically. At that point as a class we can critique the creative solutions or options in the examples. By addressing the criteria in the beginning of the project, students become better equipped to critique the completed project and most importantly learn to critique their own project and process. A second example of preparing for the critique process is approached in a raster imaging class. This particular course has a technical aspect in which they have to learn the software program and be able to use it as an aesthetic tool. Therefore, within the course each assignment or project is given a certain technical and aesthetic emphasis. Early in the semester students are given a project that encompasses a technical aspect, such as the selection tools within the software program. The aesthetic aspect portion covers shape and form. The technical and aesthetic skills become the focus of the project and will be the criteria for the critique. Later in the course students are given an assignment in which color, both technically and aesthetically is addressed. Technically students need to understand how to adjust hue, saturation, bit depth, pixel ratio, texture and levels within the program using a raster image. Aesthetically students must acquire the knowledge of color, light, and texture along with the compositional skills using color, unity and variety. Lectures and class assignments emphasize the creative, technical and aesthetic emphasis to complete the project. When appropriate the assignments should address the ‘‘realworld’’ application of the project and how it should be presented. This particular project presentation demands professionally mounted images, requiring them to print it in the proper resolution and use appropriate paper to accentuate the color assignment objectives.
3. Process Upon project completion and on critique day, the students in the class should present their specific projects professionally in the appropriate format for the critique. Students are then given the opportunity to observe fellow classmates projects as a whole. Initial reactions usually encompass a range of emotions such as sense of accomplishment, wonderment, and intimidation. The
ARTICLE IN PRESS J. Whittington / Computers & Graphics 28 (2004) 401–407
most frequently asked question is ‘‘How did they do that’’? To ‘‘level the playing field’’ of reactions and maintain the learning process a list of written criteria is given to each student to use for evaluating and critiquing the project. These criteria are based on the learning objectives and outcomes set forth at the onset of the project. It is divided into technical, design and compositional sections which gives the students the opportunity to evaluate the project on various levels of expertise. This is done in writing first, then in an oral critique. A critique criterion early in the semester is more structured and descriptive than in the latter part of the semester. Early semester critique criteria will ask the students to answer specific questions pertaining to the project criteria and require them to use a specific set of vocabulary words in their answers. When the written critique criterion is complete, the oral critique can begin. The instructor needs to make a point that the oral critique has the same critique criteria objectives as the written critique. This may need to be reinforced throughout the verbal critique process. The instructor can begin the oral critique process by asking specific and general questions that relate to those in the written criteria. The instructor may ask the student to pick three projects that the student believes have been successfully completed on all levels of the project objectives. When the instructor receives responses, he or she can ask for explanations and have the opportunity to expand on comments and concepts. Students may also be asked which project appears to have gone beyond the project assignment. This usually creates a good discussion on successful technical skills, design concepts and how to creatively take a concept to a new level. The instructor may then take one specific technical skill or design concept and ask questions about which projects have successfully completed that skill or concept. This provides a great opportunity to introduce each project and discuss the successful components of the project. If the project has some unsuccessful areas it is a good way to constructively discuss options that might make it more successful. Throughout the oral critique process, the discussion is always directed towards the learning objectives using the appropriate vocabulary. Students are also asked to take notes on comments made about their project. All written critique criteria is turned in with the final project and is a part of each student’s project grade. All comments, questions, and directives in the project critiques are directed in a positive, forward learning direction. At the onset of the critique criteria process, it is made clear to the students that all remarks are suggestions for improvements, not absolutes. It is their responsibility to synthesize critique ideas and suggestions and apply them to future projects. Students are also given the opportunity to write responses to comments or suggestions made during the critique.
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A second way to conduct an early semester critique follows basically the same critique criteria but a specific student is assigned another student’s project to evaluate. Students need to learn critique skills before they evaluate their own project because they tend to ignore project objectives and emotionally discuss failures. Justifying the saying, ‘‘We are our own worst critics’’. As the semester progresses instructor guidance reduces, student critique skills develop and students gradually work towards critiquing their own projects in a positive constructive professional manner. When a project has a multipart component, critiques after each component can be beneficial to the student and instructor. It gives students the opportunity to readjust the first component and provides a better direction for the second component. The instructor has the opportunity to modify objectives if the critiquing assessment warrants project improvement. This is particularly useful if the instructor is trying out a new project or concept. Working mid-project critiques can sometimes have undesirable results if not conducted carefully. Students often have not had the opportunity to explore their own creative options and tend to change overall conceptualized ideas too soon. This often times delays completion of a project and can inhibit creativity. Sometimes instead of a peer review critique, mid-term critiques can be oneon-one basis, between instructor and student. To synthesize what students have learned throughout the semester and expand on any creative inspirations stemmed from previous projects, a final project can be assigned at the end of the semester where students create their own criteria and objectives. Project assessment results have revealed this final project to be fun and rewarding for students. A second alternative for a final project is to give the student the opportunity to reconstruct a previous assignment executed within the semester that they feel they could now improve upon. They will need to clearly state their criteria and objectives in this altered assignment. This knowledge usually stems from previous critiques and the students desire to reapply the newly learned concepts. This type of critique criteria promotes positive reinforcement, constructive assessment techniques for the student and instructor along with goal directional learning within a creative environment. It provides the students with the opportunity to improve written and oral communication skills as well as presentations skills. At the completion of each project, students should be well aware of successes and areas that need improvement. The student’s quality of work improves with each learned skill and with the knowledge that their project will be critiqued and evaluated at the end of each project deadline. The instructor benefits from this type of critique method because it provides a written accountable
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assessment evaluation from each student on each project. Questions that an instructor might ask during a critique can also help to assess the project and course. The following are general assessment questions an instructor might ask: *
*
*
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What do you (the student) feel was your most successful concept of this project? What was the most challenging but rewarding part of the project? What new concepts were you able to synthesize in this project? Was there a particular required concept or technical skill that you feel was not relevant to this project?
In the latter part of the semester, the instructor may ask for more course assessment type feedback: *
*
*
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*
Did any project relate directly to another course you have taken or are currently taking? Were the objectives of the projects helpful in other courses? What aspects of a specific project helped you at work or in another course? Were there any technical skills you felt you needed to complete the assignment? Are there any projects in this course that helped you accomplish a goal at your present place of employment? As a result of what you have learned in this project, is there another new concept you would like to learn to build your skills?
For this critique method to be successful all comments, questions and directives in the project critiques need to be directed in a positive forward learning direction that relates directly to the course and project learning objectives. The instructor should make sure each student is not flooded with too many comments or suggestions and highlight two to three suggestions for improvement. The instructor should be open to the students’ goals and objectives and try not to impose personal biases. A critique is most useful when suggestions of changes are introduced and explored, which stimulates creative ideas for future projects. Questions and discussion from all students are very important to the students’ growth and evaluation of assignment objectives. The critique criteria changes with each project, but should consistently relate to the project, course and program objectives, providing the instructor and student important ongoing assessment criteria. Below are examples of a specific application of this method. The assignment objectives and vocabulary words to define and utilize during the critique are introduced at the onset of the project. On the project completion date and before the oral critique begins, students are given a list of questions for written response. Once the students have completed the
written review, the oral critique begins. Students are reminded to use appropriate vocabulary when responding verbally and orally, along with explanations to their comments. For example a student who states, ‘‘I like that! It is really cool’’, will be asked to explain their comment further. A more acceptable comment from the student would be, ‘‘The repetition of red rectangles that run across the piece diagonally really creates excitement and visual direction to the main communication element’’. Students must acquire technical, business and aesthetic vocabulary skills to communicate effectively with peers, bosses, clients and the public. A well executed critique process designed to address specific objectives will educate the student in important communication processes to help be a successful productive designer, as well as provide the instructor with a quantitative assessment process to evaluate each course and assignment. 3.1. Example In the provided example, the course objectives were created for a raster imaging class. Principles of composition, elements of design, color, creativity, aesthetic value and technical knowledge of the software are emphasized. The course objectives should always relate to specific program objectives. By addressing specific program and course objectives within each project, it provides the instructor with a quantitative assessment measure to evaluate goals and make adjustments when necessary to course assignments. Please note that in the example below the assignment objectives were pulled directly from the course objectives. The assignment objectives become a measure of the emphasis in the color filter assignment. Each assignment within the course will have some overlap in course objectives, but should have a specific emphasis for each individual assignment. 3.1.1. Color and filter assignment objectives *
*
*
*
To find out about bitmap imaging attributes (size, resolution, bit depth, and file size) and how they are interrelated. To develop an understanding, and be able to use, common imaging application features such as layers, channels, paths, filters, color adjustment and correction tools, histograms, color mode tools, and calibration tools. To understand raster graphic display and print technologies, as well as how output is affected by gamma and calibration. To develop an understanding of color theory, color models, color systems, and the physiological and psychological affects of color in raster imaging.
ARTICLE IN PRESS J. Whittington / Computers & Graphics 28 (2004) 401–407 *
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To discover miscellaneous raster graphics issues such as file formats, compression technologies, vector to raster conversion methods. To develop skill and proficiency in creating professional raster graphics for print and visual display output.
3.1.2. Assignment description Use a photo or original art piece. The resolution of the image should be at least 150 dpi to start and the approximate size should be 7 10 in. The art piece will be divided into approximately 70, one inch squares using the selection tool and rulers. Each square will be adjusted with filters, and color in the color mode. Make use of various color wheel combinations. You will be exploring filters and effects in this piece. Pay particular attention to hue, value and saturation of color, texture and light. The piece should have unity and variety, a focal point as well as balance and secondary points of interest. All aspects of the project must be created in Adobe Photoshop. You will create a diagram of your adjustment grid. In each square write or type the filter and color effects used. After you have created your piece to be printed, you will create a second piece in the proper dpi and format for web use. The web image should load in less than 10 s and be as close as possible, visually, to the original image. The web image should be approximately 216 309 pixels. The resolution must be adjusted appropriately.
* * * * *
*
*
*
Look at successful art work both digital and traditional to get ideas. Review the compositional elements and principles of design to aid in creating a good composition. Use preliminary sketches.
As you (the student) are working ask yourself these questions about your design * * * *
* * * * *
Does the project have a focal point? Where does the eye go at first glance? Does the eye move to a secondary position? How do the hues and textures effect the overall composition? What is the prominent color composition? What are the prominent shapes? What makes the design interesting? What gives the design unity? Does it have rhythm and balance? Deliverables
* *
Disk with layers and work. Printed Photoshop art work presented professionally for critique.
Digital piece for web use. Original photo, photos or artwork. Print of adjustment grid. Typed list of Photoshop tools used. List any problems, successes, discoveries or epiphanies.
3.1.4. Vocabulary words For this particular assignment where color and composition are the emphasis, I request that they pull the appropriate words from a vocabulary list given to them in a previous assignment that addressed the principles of design and elements of composition. They are also asked to talk about the technical skills used with the software program using the appropriate proprietary vocabulary. Because this project is two-thirds into the semester, they should have acquired some business and technical vocabulary which was supplied in earlier semester projects. Sample critique questions *
* * * * * * * *
3.1.3. How to approach the assignment
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*
*
*
*
*
* *
* *
Is the project presented in a professional format? Explain. Does the project have a focal point? Explain. Where does the eye go at first glance? Explain. Does the eye move to a secondary position? Explain. What are the prominent elements? Explain. What makes the design interesting? Explain. What gives the design unity? Explain. Does it have rhythm and balance? Explain. Are there any innovative technical aspects? Explain. What were problems or successes in converting the project to a web ready image? What is the resolution and bit depth composition created for monitor display? What is the resolution and bit depth of the print composition? Explain what color composition was used and its effect on presentation. How does the monitor display and printed composition differ in color? Explain any color calibration and printing issues. What type of layer adjustments were made to accommodate file size? What does the composition communicate? What elements aid in communication?
4. Result and evaluation A successful critique is not always easy to define. Discussion from other instructors has revealed frustration because a student or two during the critique was upset and feelings were hurt. When creativity is involved in a process, often emotions and feelings become a part of the end result. By stating the objectives
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of the project, giving quantitative criteria for evaluation and going through a process the personal emotional response has the possibility of taking an equal or side seat. Personalities of classes and individual students often sway a verbal critique in one direction or another. Some students, who have a lot to offer, are quiet and say nothing. Requiring everyone to attend the critique or else a significant loss of grade, does not always persuade the fearful student. Although the above has proven to be an excellent learning tool for students and an evaluation process for instructors, creativity in options and delivery of a critique are often necessary to adjust to the personality of the class. Recently I was informed by a quiet student who did not participate verbally at the critiques that the critiques were the most helpful thing we had done in class. The student stated that she was relieved to discover the process, successes and failures that others had experienced. Before, she felt as though everyone else was having an easy time, and she was the only one struggling with techniques and concepts and would have dropped out of the program if it had not been for the critiques. In a shortened summer course, I gave an online critique where I put all the students work online, then the critique survey was to be done online and comments were made in a discussion board. Each student was to vote for best of show, best technical and best aesthetic. The criteria for the judging had to do with the projects technical and aesthetic criteria. The semester after the course had been offered, I made a comment to a student that the only thing I would change about the summer course was to make sure we had time for formal verbal critiques instead of just online. She informed me that they had a lot of discussion before and after class because the platform provided the fodder for discussion. They also had the opportunity to e-mail and make comments to each other via the online process, which helped with the learning process on other projects. To my surprise the class had a critique without me! I then realized that the informal process of critiquing and evaluating projects provoked much discussion between students and that using the online process was a good precursor for a formal critique.
5. Conclusion Due to the results of the success of the online discussion, I am currently adding an online component to all my physical classes. Discussion topics or concepts are provided for students to respond to online. Although I have used the online component in conjunction with a formal written and verbal critique for
just one semester, it appears to prepare and stimulate the student’s in class discussion and enhance the critique process. In previous critiques I had them write out their comments at the beginning of the same class period of the verbal critique. By providing an online discussion forum which addresses specific concepts during the course of the working project, the student appears to better prepare for the final written and verbal evaluation. I am also getting good results from my quiet students. In a recent critique one of the more verbal students stated that they had not even thought of a certain concept until they read what another student had written in the online discussion. This concept was written by a quiet student. The quiet student responded to the comment, added to it, and actually participated in the critique! This is only one instance, but enough of a success for me to continue the online discussion process to add to the formal critique practice. In my discussion with other instructors, a general consensus was that of conducting a critique, no matter what subject, is a process and takes practice to implement. Personalities of classes and instructors afford various results and critiques provide a platform for thought and discussion beyond the structure of the class. Most importantly students need to learn how to communicate with peers, bosses and clients to succeed in their chosen profession. How they conduct and handle themselves is a learned process and practice in that process is very important. For the instructor a written critique evaluation is helpful in assessing whether or not the concepts of a project have been successfully accomplished by the students. If a concept has not been grasped by the majority of students within a class project, the instructor has the opportunity to reintroduce it in a new format, thus enhancing the learning process. References [1] Arntson AE. Graphic design basics. New York: Hartcourt Brace and Jovanich Publishers, 1993. ISBN 0-03-055483-7. [2] Getlein M. Gilbert’s living with art. New York: McGrawHill Humanities/Social Sciences/Languages, 2001. ISBN 00724575250. [3] Taylor JC. Learning to look at art. Chicago: University of Chicago Press. ISBN 0-226-79154-8. About the author Jana Whittington completed her AA in Graphic Design from Yavapai College, Prescott, AZ, and her BFA in painting with special studies in computer art from Northern Arizona University, Flagstaff, AZ. She completed her M.A. in Humanities with emphasis in Studio art and Thesis study in Computer Art and Collage from California State University, Carson, California.
ARTICLE IN PRESS J. Whittington / Computers & Graphics 28 (2004) 401–407 Jana Whittington is currently affiliated with the School of Technology, Purdue University Calumet, Hammond, IN since July 2002, with a 1 year appointment as a visiting professor and presently as an Assistant Professor and Program Coordinator of Computer Graphics Technology. Prior to her appointment at Purdue University Calumet she has spent twenty years utilizing her broad range of skills in business, fine art, graphic design and web design industry working as a freelance and contract
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graphic designer. Along with the industry experience Jana also has nine years of teaching experience where she has taught a variety of higher education courses including graphic design, computer graphics, web design, digital imaging, digital photography, illustration, drawing, painting, multimedia and art history. Other college affiliations include: College of Lake County, Grayslake, IL 1/01-7/01; Yavapai College, Prescott, AZ 1/96-7/99.
Computers & Graphics 28 (2004) 401–407
Education
The process of effective critiques Jana Whittington* Computer Graphics Technology, Purdue University Calumet, 2200, 169th St. Hammond, IN 46323-2094, USA
Abstract Effective critiquing is a sound method for assessing, teaching and learning new technology. The processes and techniques that are critical to help students develop and evaluate their technical, aesthetic, written and verbal skills can be implemented at all levels of technical expertise and disciplines. Administering an effective critique does not begin at the completion of an assignment. It begins with the creation of the learning objectives and outcomes of a specific project. The author is drawing on industrial, art and technical educational experience to prepare projects and criteria for effective critiques. This paper will point out several different methods and approaches in preparing and conducting project critiques along with examples of how to use this approach to assess an assignment and overall course learning objectives. r 2004 Elsevier Ltd. All rights reserved. Keywords: Critique; Graphic design; Composition; Art; Technology
1. Introduction How does an instructor promote continued student learning when a project is completed? How does an instructor enable students to take an active role in the professional evaluation process? After a student project has been assigned, the students have completed the project, the prepared instructor can administer an effective critique in which the students learn and participate in the experience. Administering an effective critique does not begin at the completion of an assignment. It begins with the creation of the learning objectives and outcomes of a specific project, which is created by the instructor. When the project is introduced to the class, each student should be given the project criteria. This criterion includes learning objectives, learning outcomes, due date, critique presentation method and any other clarifying information deemed necessary to optimize a successful learning experience. The criteria also has technical, compositional and design objectives that need to be met. *Corresponding author. Tel.: +1-219-989-2354. E-mail address: [email protected] (J. Whittington).
The technical criteria can be acquired through the manuals and books provided with the computer, computer software or through technical experience. The design and compositional criterion comes from my personal fine art background and years of graphic design experience. The references below are books that successfully address the compositional principles and design elements needed to apply to the new graphic technology [1,2]. The book, Learning To Look at Art, is an excellent resource in which to draw verbal and written critique guidelines [3]. This process of critiquing is well known in the Fine art field, but is also making its way into other disciplines. At the SIGGRAPH 2003 conference, there was much discussion about this process and the various fields of study that are implementing the critiquing process. Dr. William J. Joel, Professor of Computer Science Western Connecticut State University stated at the SIGGRAPH 2003 conference that he is using the process to expose students to various coding solutions within a project. His students often have a mid-project critique to resolve issues before the project is completed. Other instructors discussed issues using the critiquing method in courses such as technical writing, science, various areas of graphics, animation, traditional fine art
0097-8493/$ - see front matter r 2004 Elsevier Ltd. All rights reserved. doi:10.1016/j.cag.2004.03.007
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as well as programming courses. While the majority of instructors were very interested in using the critique process, there was much discussion about the problems encountered. Some exclaimed that they had never, themselves, experienced the process in their field of study and were not sure how to approach the method, while others in the fine art field expressed some negative results and pitfalls in the process in their field of study. Martha Lee, Instructor/Lab Manager in the Art and Graphic Design Department at Yavapai College, Prescott, AZ, stated that one of the major issues in conducting a successful critique was the student’s lack of vocabulary. She stated, ‘‘The pitfall is that students are trying to explain verbally something that was accomplished in a non-verbal process’’. Critiquing is important because the processes and techniques are critical to help students develop and evaluate their technical, aesthetic, written and verbal skills. This process can be implemented to address the various levels of technical expertise and disciplines within the classroom.
2. Courses and assignments Critiquing is an assessment process that originates in the traditional fine art field and is making its way into the new technology. (The new technology in this particular paper is defined as combining science, art and computer technology). The critiquing process has been used in enhancing programming skills, coding and scripting for web sites and in technical graphic courses. With the onset of the new technology, many art and graphics instructors are struggling with the changed process. Teaching art and design is now combined with many new technical skills that have to be learned in the process. The cognitive analytical process needs to be fostered with creativity and creative solutions. Addressing and evaluating multiple issues in each project can be confusing for the student to grasp and understand. Instructors need to be able to develop a process for each project. For example, in a HTML coding and scripting course, students were assigned a four page website project. In the onset of the project introduction the criteria was addressed. The criterion states that students are to hand code the website, interactive and human computer issues are addressed, design and compositional criteria are introduced in discussion and written format. Since design and composition have visual biases, it is best to show examples of how line, shape, color, form, texture, light and space are used to create balance, harmony or rhythm within a project and the success of the human computer interface (HCI). In that same respect code can be brought up to show how the technical process was accomplished and its relationship to the overall design.
The coding process is very important in this project, because the pages will not function properly if the coding is not done correctly. Even though we address the aesthetic elements in good web page design, the technical aspects are given much more attention in this particular course and assignment. By showing the students examples, it gives them a foundation in which to work and an understanding of the criteria. Many times I will show examples and address problems that occurred within the examples, both technically and aesthetically. At that point as a class we can critique the creative solutions or options in the examples. By addressing the criteria in the beginning of the project, students become better equipped to critique the completed project and most importantly learn to critique their own project and process. A second example of preparing for the critique process is approached in a raster imaging class. This particular course has a technical aspect in which they have to learn the software program and be able to use it as an aesthetic tool. Therefore, within the course each assignment or project is given a certain technical and aesthetic emphasis. Early in the semester students are given a project that encompasses a technical aspect, such as the selection tools within the software program. The aesthetic aspect portion covers shape and form. The technical and aesthetic skills become the focus of the project and will be the criteria for the critique. Later in the course students are given an assignment in which color, both technically and aesthetically is addressed. Technically students need to understand how to adjust hue, saturation, bit depth, pixel ratio, texture and levels within the program using a raster image. Aesthetically students must acquire the knowledge of color, light, and texture along with the compositional skills using color, unity and variety. Lectures and class assignments emphasize the creative, technical and aesthetic emphasis to complete the project. When appropriate the assignments should address the ‘‘realworld’’ application of the project and how it should be presented. This particular project presentation demands professionally mounted images, requiring them to print it in the proper resolution and use appropriate paper to accentuate the color assignment objectives.
3. Process Upon project completion and on critique day, the students in the class should present their specific projects professionally in the appropriate format for the critique. Students are then given the opportunity to observe fellow classmates projects as a whole. Initial reactions usually encompass a range of emotions such as sense of accomplishment, wonderment, and intimidation. The
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most frequently asked question is ‘‘How did they do that’’? To ‘‘level the playing field’’ of reactions and maintain the learning process a list of written criteria is given to each student to use for evaluating and critiquing the project. These criteria are based on the learning objectives and outcomes set forth at the onset of the project. It is divided into technical, design and compositional sections which gives the students the opportunity to evaluate the project on various levels of expertise. This is done in writing first, then in an oral critique. A critique criterion early in the semester is more structured and descriptive than in the latter part of the semester. Early semester critique criteria will ask the students to answer specific questions pertaining to the project criteria and require them to use a specific set of vocabulary words in their answers. When the written critique criterion is complete, the oral critique can begin. The instructor needs to make a point that the oral critique has the same critique criteria objectives as the written critique. This may need to be reinforced throughout the verbal critique process. The instructor can begin the oral critique process by asking specific and general questions that relate to those in the written criteria. The instructor may ask the student to pick three projects that the student believes have been successfully completed on all levels of the project objectives. When the instructor receives responses, he or she can ask for explanations and have the opportunity to expand on comments and concepts. Students may also be asked which project appears to have gone beyond the project assignment. This usually creates a good discussion on successful technical skills, design concepts and how to creatively take a concept to a new level. The instructor may then take one specific technical skill or design concept and ask questions about which projects have successfully completed that skill or concept. This provides a great opportunity to introduce each project and discuss the successful components of the project. If the project has some unsuccessful areas it is a good way to constructively discuss options that might make it more successful. Throughout the oral critique process, the discussion is always directed towards the learning objectives using the appropriate vocabulary. Students are also asked to take notes on comments made about their project. All written critique criteria is turned in with the final project and is a part of each student’s project grade. All comments, questions, and directives in the project critiques are directed in a positive, forward learning direction. At the onset of the critique criteria process, it is made clear to the students that all remarks are suggestions for improvements, not absolutes. It is their responsibility to synthesize critique ideas and suggestions and apply them to future projects. Students are also given the opportunity to write responses to comments or suggestions made during the critique.
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A second way to conduct an early semester critique follows basically the same critique criteria but a specific student is assigned another student’s project to evaluate. Students need to learn critique skills before they evaluate their own project because they tend to ignore project objectives and emotionally discuss failures. Justifying the saying, ‘‘We are our own worst critics’’. As the semester progresses instructor guidance reduces, student critique skills develop and students gradually work towards critiquing their own projects in a positive constructive professional manner. When a project has a multipart component, critiques after each component can be beneficial to the student and instructor. It gives students the opportunity to readjust the first component and provides a better direction for the second component. The instructor has the opportunity to modify objectives if the critiquing assessment warrants project improvement. This is particularly useful if the instructor is trying out a new project or concept. Working mid-project critiques can sometimes have undesirable results if not conducted carefully. Students often have not had the opportunity to explore their own creative options and tend to change overall conceptualized ideas too soon. This often times delays completion of a project and can inhibit creativity. Sometimes instead of a peer review critique, mid-term critiques can be oneon-one basis, between instructor and student. To synthesize what students have learned throughout the semester and expand on any creative inspirations stemmed from previous projects, a final project can be assigned at the end of the semester where students create their own criteria and objectives. Project assessment results have revealed this final project to be fun and rewarding for students. A second alternative for a final project is to give the student the opportunity to reconstruct a previous assignment executed within the semester that they feel they could now improve upon. They will need to clearly state their criteria and objectives in this altered assignment. This knowledge usually stems from previous critiques and the students desire to reapply the newly learned concepts. This type of critique criteria promotes positive reinforcement, constructive assessment techniques for the student and instructor along with goal directional learning within a creative environment. It provides the students with the opportunity to improve written and oral communication skills as well as presentations skills. At the completion of each project, students should be well aware of successes and areas that need improvement. The student’s quality of work improves with each learned skill and with the knowledge that their project will be critiqued and evaluated at the end of each project deadline. The instructor benefits from this type of critique method because it provides a written accountable
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assessment evaluation from each student on each project. Questions that an instructor might ask during a critique can also help to assess the project and course. The following are general assessment questions an instructor might ask: *
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What do you (the student) feel was your most successful concept of this project? What was the most challenging but rewarding part of the project? What new concepts were you able to synthesize in this project? Was there a particular required concept or technical skill that you feel was not relevant to this project?
In the latter part of the semester, the instructor may ask for more course assessment type feedback: *
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Did any project relate directly to another course you have taken or are currently taking? Were the objectives of the projects helpful in other courses? What aspects of a specific project helped you at work or in another course? Were there any technical skills you felt you needed to complete the assignment? Are there any projects in this course that helped you accomplish a goal at your present place of employment? As a result of what you have learned in this project, is there another new concept you would like to learn to build your skills?
For this critique method to be successful all comments, questions and directives in the project critiques need to be directed in a positive forward learning direction that relates directly to the course and project learning objectives. The instructor should make sure each student is not flooded with too many comments or suggestions and highlight two to three suggestions for improvement. The instructor should be open to the students’ goals and objectives and try not to impose personal biases. A critique is most useful when suggestions of changes are introduced and explored, which stimulates creative ideas for future projects. Questions and discussion from all students are very important to the students’ growth and evaluation of assignment objectives. The critique criteria changes with each project, but should consistently relate to the project, course and program objectives, providing the instructor and student important ongoing assessment criteria. Below are examples of a specific application of this method. The assignment objectives and vocabulary words to define and utilize during the critique are introduced at the onset of the project. On the project completion date and before the oral critique begins, students are given a list of questions for written response. Once the students have completed the
written review, the oral critique begins. Students are reminded to use appropriate vocabulary when responding verbally and orally, along with explanations to their comments. For example a student who states, ‘‘I like that! It is really cool’’, will be asked to explain their comment further. A more acceptable comment from the student would be, ‘‘The repetition of red rectangles that run across the piece diagonally really creates excitement and visual direction to the main communication element’’. Students must acquire technical, business and aesthetic vocabulary skills to communicate effectively with peers, bosses, clients and the public. A well executed critique process designed to address specific objectives will educate the student in important communication processes to help be a successful productive designer, as well as provide the instructor with a quantitative assessment process to evaluate each course and assignment. 3.1. Example In the provided example, the course objectives were created for a raster imaging class. Principles of composition, elements of design, color, creativity, aesthetic value and technical knowledge of the software are emphasized. The course objectives should always relate to specific program objectives. By addressing specific program and course objectives within each project, it provides the instructor with a quantitative assessment measure to evaluate goals and make adjustments when necessary to course assignments. Please note that in the example below the assignment objectives were pulled directly from the course objectives. The assignment objectives become a measure of the emphasis in the color filter assignment. Each assignment within the course will have some overlap in course objectives, but should have a specific emphasis for each individual assignment. 3.1.1. Color and filter assignment objectives *
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To find out about bitmap imaging attributes (size, resolution, bit depth, and file size) and how they are interrelated. To develop an understanding, and be able to use, common imaging application features such as layers, channels, paths, filters, color adjustment and correction tools, histograms, color mode tools, and calibration tools. To understand raster graphic display and print technologies, as well as how output is affected by gamma and calibration. To develop an understanding of color theory, color models, color systems, and the physiological and psychological affects of color in raster imaging.
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To discover miscellaneous raster graphics issues such as file formats, compression technologies, vector to raster conversion methods. To develop skill and proficiency in creating professional raster graphics for print and visual display output.
3.1.2. Assignment description Use a photo or original art piece. The resolution of the image should be at least 150 dpi to start and the approximate size should be 7 10 in. The art piece will be divided into approximately 70, one inch squares using the selection tool and rulers. Each square will be adjusted with filters, and color in the color mode. Make use of various color wheel combinations. You will be exploring filters and effects in this piece. Pay particular attention to hue, value and saturation of color, texture and light. The piece should have unity and variety, a focal point as well as balance and secondary points of interest. All aspects of the project must be created in Adobe Photoshop. You will create a diagram of your adjustment grid. In each square write or type the filter and color effects used. After you have created your piece to be printed, you will create a second piece in the proper dpi and format for web use. The web image should load in less than 10 s and be as close as possible, visually, to the original image. The web image should be approximately 216 309 pixels. The resolution must be adjusted appropriately.
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Look at successful art work both digital and traditional to get ideas. Review the compositional elements and principles of design to aid in creating a good composition. Use preliminary sketches.
As you (the student) are working ask yourself these questions about your design * * * *
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Does the project have a focal point? Where does the eye go at first glance? Does the eye move to a secondary position? How do the hues and textures effect the overall composition? What is the prominent color composition? What are the prominent shapes? What makes the design interesting? What gives the design unity? Does it have rhythm and balance? Deliverables
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Disk with layers and work. Printed Photoshop art work presented professionally for critique.
Digital piece for web use. Original photo, photos or artwork. Print of adjustment grid. Typed list of Photoshop tools used. List any problems, successes, discoveries or epiphanies.
3.1.4. Vocabulary words For this particular assignment where color and composition are the emphasis, I request that they pull the appropriate words from a vocabulary list given to them in a previous assignment that addressed the principles of design and elements of composition. They are also asked to talk about the technical skills used with the software program using the appropriate proprietary vocabulary. Because this project is two-thirds into the semester, they should have acquired some business and technical vocabulary which was supplied in earlier semester projects. Sample critique questions *
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3.1.3. How to approach the assignment
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Is the project presented in a professional format? Explain. Does the project have a focal point? Explain. Where does the eye go at first glance? Explain. Does the eye move to a secondary position? Explain. What are the prominent elements? Explain. What makes the design interesting? Explain. What gives the design unity? Explain. Does it have rhythm and balance? Explain. Are there any innovative technical aspects? Explain. What were problems or successes in converting the project to a web ready image? What is the resolution and bit depth composition created for monitor display? What is the resolution and bit depth of the print composition? Explain what color composition was used and its effect on presentation. How does the monitor display and printed composition differ in color? Explain any color calibration and printing issues. What type of layer adjustments were made to accommodate file size? What does the composition communicate? What elements aid in communication?
4. Result and evaluation A successful critique is not always easy to define. Discussion from other instructors has revealed frustration because a student or two during the critique was upset and feelings were hurt. When creativity is involved in a process, often emotions and feelings become a part of the end result. By stating the objectives
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of the project, giving quantitative criteria for evaluation and going through a process the personal emotional response has the possibility of taking an equal or side seat. Personalities of classes and individual students often sway a verbal critique in one direction or another. Some students, who have a lot to offer, are quiet and say nothing. Requiring everyone to attend the critique or else a significant loss of grade, does not always persuade the fearful student. Although the above has proven to be an excellent learning tool for students and an evaluation process for instructors, creativity in options and delivery of a critique are often necessary to adjust to the personality of the class. Recently I was informed by a quiet student who did not participate verbally at the critiques that the critiques were the most helpful thing we had done in class. The student stated that she was relieved to discover the process, successes and failures that others had experienced. Before, she felt as though everyone else was having an easy time, and she was the only one struggling with techniques and concepts and would have dropped out of the program if it had not been for the critiques. In a shortened summer course, I gave an online critique where I put all the students work online, then the critique survey was to be done online and comments were made in a discussion board. Each student was to vote for best of show, best technical and best aesthetic. The criteria for the judging had to do with the projects technical and aesthetic criteria. The semester after the course had been offered, I made a comment to a student that the only thing I would change about the summer course was to make sure we had time for formal verbal critiques instead of just online. She informed me that they had a lot of discussion before and after class because the platform provided the fodder for discussion. They also had the opportunity to e-mail and make comments to each other via the online process, which helped with the learning process on other projects. To my surprise the class had a critique without me! I then realized that the informal process of critiquing and evaluating projects provoked much discussion between students and that using the online process was a good precursor for a formal critique.
5. Conclusion Due to the results of the success of the online discussion, I am currently adding an online component to all my physical classes. Discussion topics or concepts are provided for students to respond to online. Although I have used the online component in conjunction with a formal written and verbal critique for
just one semester, it appears to prepare and stimulate the student’s in class discussion and enhance the critique process. In previous critiques I had them write out their comments at the beginning of the same class period of the verbal critique. By providing an online discussion forum which addresses specific concepts during the course of the working project, the student appears to better prepare for the final written and verbal evaluation. I am also getting good results from my quiet students. In a recent critique one of the more verbal students stated that they had not even thought of a certain concept until they read what another student had written in the online discussion. This concept was written by a quiet student. The quiet student responded to the comment, added to it, and actually participated in the critique! This is only one instance, but enough of a success for me to continue the online discussion process to add to the formal critique practice. In my discussion with other instructors, a general consensus was that of conducting a critique, no matter what subject, is a process and takes practice to implement. Personalities of classes and instructors afford various results and critiques provide a platform for thought and discussion beyond the structure of the class. Most importantly students need to learn how to communicate with peers, bosses and clients to succeed in their chosen profession. How they conduct and handle themselves is a learned process and practice in that process is very important. For the instructor a written critique evaluation is helpful in assessing whether or not the concepts of a project have been successfully accomplished by the students. If a concept has not been grasped by the majority of students within a class project, the instructor has the opportunity to reintroduce it in a new format, thus enhancing the learning process. References [1] Arntson AE. Graphic design basics. New York: Hartcourt Brace and Jovanich Publishers, 1993. ISBN 0-03-055483-7. [2] Getlein M. Gilbert’s living with art. New York: McGrawHill Humanities/Social Sciences/Languages, 2001. ISBN 00724575250. [3] Taylor JC. Learning to look at art. Chicago: University of Chicago Press. ISBN 0-226-79154-8. About the author Jana Whittington completed her AA in Graphic Design from Yavapai College, Prescott, AZ, and her BFA in painting with special studies in computer art from Northern Arizona University, Flagstaff, AZ. She completed her M.A. in Humanities with emphasis in Studio art and Thesis study in Computer Art and Collage from California State University, Carson, California.
ARTICLE IN PRESS J. Whittington / Computers & Graphics 28 (2004) 401–407 Jana Whittington is currently affiliated with the School of Technology, Purdue University Calumet, Hammond, IN since July 2002, with a 1 year appointment as a visiting professor and presently as an Assistant Professor and Program Coordinator of Computer Graphics Technology. Prior to her appointment at Purdue University Calumet she has spent twenty years utilizing her broad range of skills in business, fine art, graphic design and web design industry working as a freelance and contract
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graphic designer. Along with the industry experience Jana also has nine years of teaching experience where she has taught a variety of higher education courses including graphic design, computer graphics, web design, digital imaging, digital photography, illustration, drawing, painting, multimedia and art history. Other college affiliations include: College of Lake County, Grayslake, IL 1/01-7/01; Yavapai College, Prescott, AZ 1/96-7/99.