This article puts forward a new methodology in artistic education. It is based on scientific utopia as it aims for the implementation in schools of the cátedras de la Boniteza (the Boniteza's Art Chair), where an inhabiting artist changes the institution from within through the development of quality art projects. The process of pedagogical investigation in the arts materialises in pedagogical curatorial

Visual journals are reflective learning journals that engage the active and purposeful exploration and incorporation of art mediums and visual imagery into the journaling process. This paper focused on the ways that visual journals might be enacted in K‐12 classrooms. We begin by introducing the four ways New (2005) identified that artists, scientists, and directors use visual journals to attune them

This paper explores how ‘what matters’ can surface in multisensory arts‐informed projects as ways for young people to survive and stay with gender and sexuality troubles that are always more than theirs. Situated in an ex‐mining post‐industrial locale, we make an agential cut in a longitudinal research and engagement project called Unboxing Relationships and Sexuality Education (RSE) to open up a rare

This experimental paper explores a form of neurodiversity‐affirming qualitative data analysis labelled a polyphony of (analytical) scores and creative methodologies utilised in our research project. Our data examples come from a federally funded research study which co‐designed sensory pedagogies for autistic students interested in computational thinking (CT). Four middle‐school teachers, or teacher

Spurred by an observation that ‘student art teachers don't want to be radical teachers’, this paper explores how the gift by a lecturer of a tongue‐in‐cheek hand‐printed ‘Artistic Licence’ to a new cohort of pre‐service teachers, gives permission to imagine new futures. Through a dialogic image‐exchange two educators bring their radical manifesto for art teachers/teaching as a performative autoethnography

Alongside their continuing growth in the popularity, both practice research in creative disciplines and arts‐based methods in research in the social sciences have histories now spanning several decades. In doctoral education, art and design education research sits within and across two distinct fields – the art and design doctorate and the education doctorate – each field with their own disciplinary

In collaborative research, the ways in which complexity is acknowledged, negotiated and managed actively shape the nature of the complexity that is created and experienced. However, reports on complex projects seldom detail how challenges relating to research design or execution were navigated, nor discuss how frictions or tensions might productively disrupt conventional approaches. This article speaks

Most of the museum's family digital interactive programmes are designed for children, and research regarding the family as a learning unit is lacking. Towards this end, we have been exploring how digital resources exist within the family museum experiential learning process and how it can be tailored to support adult groups participating through motivational and creative tools. Based on Kolb's experiential

This submission shares methodological experiments, cultivated in practices of composting by staying open to a surprise in art and design education research. Openness towards a surprise reduces a need to control a defining momentum of inquiry and instead welcomes composted and layered unknowns through multisensory learning experiences. In this visual multisensory essay, authors collectively experiment

Workshops create a collaborative and/or sharing environment that supports our design education and turns it into an interactive one. They are important meeting places for students who continue their design education in different disciplines in different places to communicate and provide common working platforms. Therefore, such organisations, where versatile gains are achieved, are an indispensable

Considering the complexity of COVID‐19 and post‐pandemic learning conditions, how can we foster intercultural and real‐world learning outcomes in design studios? This article explores the possibilities for situated learning experiences to prepare students for industry. Design sprints and designathons are intensive experiences used in studio settings to solve big problems and test new ideas in a short

This paper explores the implementation and evaluation of Imagination Agents, a mixed‐methods case study, with young people aged 12–13, funded by a Royal Society of Arts Catalyst Award. The project was grounded in a flexible theory that imagination enables the necessary originality for creativity, enabling learners to construct personal understandings of their own learning which equate to metacognition

As artists and teachers in a Teacher Training Faculty, we have designed proposals for children that transfer our own experience as creators in the studio to the educational field. In this way, the classroom is configured into a versatile workplace, like the studio, allowing us to carry out and analyse different workshops for children with the aim of promoting creativity. These workshops, which we call

This paper outlines two collaborative, child‐centred art projects I led in school settings as a child mental health expert and artist, which sought to explore how illustration, imagination and creativity can emotionally support, positively empower and visually inspire children to engage with emotional literacy, Adverse Childhood Experiences (ACEs), trauma, and eco‐anxiety. These projects brought together

Youth arts programmes give young people access to different kinds of art skills, social networks and professional standard opportunities. This article explores a typology of youth arts from across five programmes in Denmark and England, examining through observations and interviews with staff and young people what kind of arts practices are centered within the programmes. Our categories incorporate

Universal design (UD) is a design philosophy that offers effective concepts and tools to help designers develop accessible products, services, and environments. Despite the growing need for inclusive design strategies, UD is not typically integrated into design education, particularly textile design. Textile design is associated with the process of utilising aesthetic and technical elements to develop

This paper explores the role of imagination on art and design educators who undertake autoethnographic research in adult community learning (ACL) in the UK. ACL in the UK comprises community‐based learning opportunities delivered by local authorities and general further education colleges (Department for Education [DfE] 2019) and provides accredited and non‐accredited adult learning, primarily catering

Ecologies of collective imagination involve creating and sharing imagination practice. This modest piece of research engaged 10 artists, environmentalists, and educators to think together about how nature can be a source and a driver of the imagination and sense of possibility for individuals and communities. Together we focused on the concept of re‐imagining learning, inside and outside, researching

In this paper we explore the idea of an equity of imagination in the context of learning in the art museum. We mean by this a shared mental space in which artworks and publics are afforded mutual agency and power to generate meaning, with opportunities to conjure new meanings for shifting and changing contexts. We focus on how this can emerge through artistic interventions that seek to expand definitions

This article describes preservice art education students who curated an exhibition for a university gallery, using description and analysis as aesthetic inquiry processes. The students curated an exhibition that placed 1977 Central and Latin American and contemporary children's artworks in dialogue with each other. They constructed themes that facilitated visual comparisons between contexts and narratives

This paper addresses the importance of creativity, speculative imagination and the production of novelty in pedagogic practices in art education and art practice. These terms refer to always incomplete assemblages or agencements of experiencing. Whitehead's ideas on imagination, speculation and propositions are linked with Stengers's work on speculation and the cosmic adventure. The paper proceeds

Educational makerspaces have now been established in many Norwegian schools. Makerspace initiators promote active learning by using new and traditional materials, tools and technologies in creative activities. Arts and crafts (A&C) education shares many ideas with makerspaces, inviting pupils to explorative interaction through material engagement that promotes multiple ways of knowing. In this study

The rise in the number of young people disengaged from mainstream schooling is reaching critical proportions. This paper explores a child‐framed participatory inquiry known as The Walking A/r/tography Project, which sought to challenge, empower and engage youth at risk in one Special Assistance Secondary School in Southeast Queensland through a/r/tographic mappings of place and subsequent critical

This study aims to develop learning to learn and self‐learning in the architectural design studio. The study considers that one of the ways in which the architectural design studio can be resistant to environmental conditions is to be aware of and manage the way the architecture student learns. The main theme of the methodological approach is learning how to learn, and its experients are first‐year

In response to increasing societal concerns for environmental issues, there is a growing demand for products that are both functional and eco‐friendly. This study investigates how integrating nature‐inspired furniture design into educational curricula prepares students for the evolving demands of the design industry. Conducted within an undergraduate furniture design studio, students were tasked with

This paper investigates the perceptions and implications of quietness among students in the UK classroom, challenging the prevalent notion that vocal participation equates to engagement and success. Despite concerns from educators and parents about quiet students' engagement, this research explores how silence and quietness function as integral components of classroom dynamics. Through interviews with

Biomaking and other bio‐oriented creative approaches are beginning to gain traction in education. Operating at the intersections of arts and sciences, they represent a field of integrative practices that involve creative making with the biological. In educational contexts, however, bio‐oriented creative practices have been studied primarily from hylomorphic perspectives that do not account for the

This article argues for a reconceptualisation of early childhood education, where learning and development are not only valued by outcome, and aims to investigate how aesthetic processes are organised in ways for the children to be inspired, to compare, explore, and play. Inspired by a Vygotsky perspective and his theories of play, imagination, and creativity, the article argues for developmental perspectives

Design education includes many pursuits that deal with creativity, thinking and visual communication techniques in the learning process. This study aims to create a participatory learning algorithm based on a location, while measuring the spatial impact through an emergent situation. The exemplified issue is determined as fire that emerged due to climate change, which has become a significant agenda

This study examines the history of craft education, especially in the context of social and temporal changes, and envisions its future based on narratives collected by student teachers at two Finnish universities. The research material covers essay responses that discussed the future of craft education in the light of forecasted megatrends. The essay responses were analysed using narrative methods

Cultural creative design activity and education involve the application of cultural inspiration. This study examines the impact of cultural inspiration distance and timing on designer’ creativity in Targeted Cultural Creative Design Pattern (TCCDP). Four design novice groups attended the cultural product design experiment with a combination of distance (far or near‐cultural inspiration) and timing

The paradigm of design must drastically change to promote sustainable social development that considers not only economic growth but also human well‐being and environmental sustainability. Some scholars argue that the central paradigm of design should focus more on the societal perspective. This article refers to such a socially oriented design approach as design for social innovation (DfSI). Our study

Children alter their drawings in multiple ways depending on whether they are drawing happy, sad or mixed happy and sad experiences. However, their explanations of why they may use features to show emotions may be overlooked in interpretation. The present study therefore used the Draw–Write–Tell paradigm which integrates children's explanations of feature use to explore children's drawn representations

Art teachers straddle two identities those of a teacher and those of an artist. While these two identities may complement each other it is clear that, particularly for elementary art teachers, they are often in conflict. As art teachers look towards balancing this dichotomy, they must discover what is necessary to equalise and maintain both their teaching and artistic identities. This self‐study offers

The advancement of generative artificial intelligence (AI) presents innovative opportunities and new challenges across various industries and academic fields. Particularly, recent advancements in generative AI, which can create images from text, are introducing new challenges in the field of graphic design education. This study discusses methods of graphic design education utilising generative AI,

In South Korea, the National Curriculum and textbooks, especially within design education, are closely intertwined. The Curriculum is critical in establishing educational goals and standards for each subject, acting as a blueprint for schooling. Textbooks, which must be approved, are designed to align with this Curriculum. This article introduces new content for design textbooks guided by the 2022

This article explores how lens‐based practices can articulate and respond to art education phenomena. The affective turn in education and appearances of education in artists’ film and moving‐image are explored to help identify different appearances and experiences of art education pedagogy. Interspersed by clip descriptions from students and my affective descriptions of watching Être et avoir by Nicolas

This paper, a conversation between Simon Grennan, Carol Wild, Miranda Matthews and Claire Penketh, explores drawing as cause and consequence, applying Grennan's thinking to three drawings as a means of exploring and exemplifying ideas discussed in his keynote at the iJADE Conference: Time in 2023. Following an initial introduction to key ideas that were raised for that audience, the paper explores

In the studio, there are routines and rituals to be observed. One of those is making gesso. The quantities change each time and the ingredients vary, but the mechanical process remains the same: soak rabbit skin glue for 3 hours, double burner melt the glue, sieve in champagne chalk whiting, stir slowly, and tap the sides to remove air bubbles. Brush on first layer. Dry. Sand. Repeat × 10. Out of repetition

Using many years of experience in the UK's state primary schools, I consider that a limited understanding of time has damaging implications for both pupils and adults within the education system. The sector neglects the fact that time has much potential, many definitions and is a powerful influence on man. I share how education took clock‐time and manipulated it to an extreme, leading to the rule clock‐time

In this research, I explore the potential of a material‐led, embodied pedagogical approach to cultivate diverse modes of thinking, knowing and becoming within a pre‐GCSE curriculum. Drawing from my experiences as both an artist and educator, I acknowledge the transformative power inherent in recognising the agency of all forms of matter, whether human or non‐human. Through the implementation of a project

Teaching is increasingly defined through the syntax of cognitive science, by retrieval practice, spaced learning, and interleaving, generating a computational rhythm for learning as a system of inputs and outputs that builds up an individual's memory over time. This, I argue, is at odds with the choreography of art and design education as an aesthetic, social, and material practice. An alternative

This paper explores how increases in modularisation, elements of professional practice and even our relationship to screens and social media are amongst the factors that have changed the way time is experienced in higher fine art education. I draw upon my experience as a student, educator and pedagogical researcher to propose that identity formation and/or transformation are amongst the key functions

As environmental awareness grows, so do questions about the environmental impact of photography, in particular traditional film development and processing, which includes the use of plastics, gelatine and other environmentally harmful chemicals notwithstanding water usage and waste. Pioneering practice and research into sustainable alternatives to conventional processes has quickly established, supported

Researchers define gamification as the phenomenon of creating “gameful experiences” and the use of “game mechanics” in non‐gaming contexts (Deterding et al. 2011; Hamari et al. 2014). Gamification within education is the translation of design elements historically associated with gaming, e.g., embodiment, restructured timetables, probability, risk and reward, into the design of pedagogical approaches

An autoethnographic exploration of identity formation raises the question of how individuals inhabit, negotiate, accommodate and resist the social groups to which they belong, continually coming to terms with who and what they are. This paper discusses, through this researcher's autobiographical exploration, the ways in which pedagogical discourse and practice produce identities that are constructed

This text aims to revisit a practice developed in a course on art education within the Ph.D. programme in Arts Education at the Faculty of Fine Arts, University of Porto. We approached this space through the construction of a workbook that was practised during classes. The exercises aimed to reflect on the positionality we occupy and on art education as a field of practice/research built on several

The aim of this paper is to contribute to the concept of design literacy by exploring what it means to learn design literacy through making. To support my argumentation, I draw on a case study where I followed two student teachers of design and craft as they learned design literacy through woodworking. Due to Covid‐19, the learning environment was located at the students' homes rather than the design

The state‐of‐the‐art literature indicates an increasing need for co‐design education as it is imperative to equip future designers with the co‐designing mindset. This derives from the significance of involving ‘people with lived experience’ in co‐design processes to better meet their needs. However, the traditional design education system seems to include mostly individual designing skills, causing

This paper introduces the life and work of art educator and designer Kurt Rowland (1920–1980) who authored the first set of textbooks on visual education and played a role in the shifting world of art and design education in post‐war Britian. We detail the foundational experiences of his extraordinary life in the first half of the 20th century including surviving the Spanish Civil War and La Retirada

As the sustainable fashion movement gains momentum, there is a growing need to introduce such concepts to the next generation of fashion designer. One approach to produce sustainable designs is upcycling, defined as the salvage and reuse of discarded or found items into new products. This study examines a pedagogical approach for engaging 2nd year undergraduate textile and fashion design students in

This paper aims to interrogate the design studio conversations between teachers and students in order to explore the indicators regarding empathy. To investigate design conversations occurring between design teachers and design students, participant observation studies were conducted at two universities in Finland and Turkey. As an empathic indicator, we addressed (1) how design teachers take the perspective