Lesson Plan - Type and Design

Touching and Seeing (162-63); The Four Typesetting Revolutions (164-66); ; Rhetorically ; Visual key concepts / / / / / / Typesetting technologies / craft / visual syntax / collective production / letterpress printing / book binding / reading convention / typographic tradition / typographic materiality objectives / / / / / / / / / / Become acquainted with historic processes (metal-type composition and letterpress printing).

ELT Journal, 1999

Novice teachers find lesson planning difficult because of the lack of experientially-derived lesson schemata. As a substitute-and as a way of encouraging experienced teachers to rethink lesson design unconstrained by narrow methodological prescriptions-l suggest that teachers look to the expressive arts for principles and structures for lesson design. Such a perspective may harmonize with their learners'expectations, as borne out by a student survey of lesson metaphors. Good lessons, I conclude, share features with, among other art forms, good films. They have plot, theme, rhythm, flow, and the sense of an ending. Lesson schemata, Novice teachers frequently admit to having difficulties planning lessons. scripts, and images These quotes from the diaries of pre-service trainees are typical: 'For reasons I'm still not sure I understand, I had a real difficult time preparing this lesson. . .' 'Still don't feel absolutely comfortable planning strategy for my own lessons.' 'Went home and spent five hours planning Tuesday's lesson. . .' (Thornbury 1991a) What is it that teachers in training don't know, or can't do, which makes lesson planning such a chore? A likely source of difficulty is their lack of a lesson blueprint-that is, an internalized representation of a lesson's overall shape that acts as an exemplar for the generation of individuallytailored lessons. It has been shown that, when planning, experienced teachers draw on lesson schemata, or mental scripts (Shavelson and Stern 1981) and that these provide a kind of template on which to map lower-order planning decisions. These mental scripts are often conceived in visual terms as lesson images. Westerman (1991: 298), quotes one experienced teacher as saying, when asked to describe his planning decisions: 'I have a vision. I sort of know exactly how it's going to go. I've imagined what will happen.' Such 'visions' are derived from the cumulative experience of having planned and taught a lot of lessons. In the absence of such experientially-gathered lesson blueprints, trainee and novice teachers .need to import them. But when it cornes to providing ready-made blueprints, the literature on lesson planning is curiously tight-lipped. While there exists an ever-expanding bank of texts and activity types for teachers to draw on, there is little explicit advice as to how these texts and activities might usefully be fashioned into a coherent lesson.

1989

Design education includes those projects or activities where children are actively engaged in a process of making and doing wick architecture, landscape architecture, urban design, and/or city planning as a context for the learning activity. The goal of such experiences is to sensitize children to their surroundings and better inform them about the process of design that ultimately affects the physical, social, and economic conditions of their community. This directory lists selected design education projects that 'nave been grouped into the following categories: (1) teacher generated/teacher taught (11 projects); (2) teacher initiated/designer or design educator taught (28 projects); (3) curriculum through teacher/designer collaboration (22 projects); (4) community as classroom (15 projects); (5) teacher-training workshops (9 projects); (6) summer programs (4 projects); and (7) public information (17 projects). Each category is subdivided into Massachusetts and national projects, and brief descriptions are given of all projects. Following the project descriptions is a 32-page resource list of individuals and organizations able to offer technical assistance, program methodology, and materials to educators. These are arranged in the following categories: (1) heritage education organizations, (2) clearinghouses, (3) professional associations, (4) community organizations, (5) higher

2022

This chapter explains types, lettering and layout as it relates to contemporary graphic design. It presents this aspect in fundamental perspective so as to teach students the essentials of lettering as it relates to contemporary graphic design

This article reports on an exploratory journey that examines the usage of visual arts as a learning tool in typography courses. Through the use of pangram and Singapore English, Singlish, the study explores interesting ways to explicate information, hoping to conceive and interpret typography in surprising and inventive ways. It also aims to reflect a range of thinking about conceptual and illustrative typography. Students participating in this research are third year BFA Visual Communication undergraduates. There are three parts to this study: firstly, students are told to create hybrid typeface through exploration of combination and elimination methods. Secondly, they are expected to create Singlish pangrams. Lastly, students formed into groups to design three-dimensional installations for their chosen pangram. The final designs were exhibited in the Singapore Design Festival to collect data. A questionnaire-survey was used and the result was measured by the experiences of the viewers. This study hopes to inspire students to do contemporary design with a touch of their eastern personality.

1994

This paper describes the process used to design and evaluate a computer-based tool that guides the development of lesson plans. The tool, PLANalyst, contains a small expert system with a human face that analyzes lessons and gives specific feedback f r improvement. The process used to create PLANalyst can be generalized to the development of tools to support any complex intellectual task. PLANalyst runs on Macintosh computers and was constructed with HyperCard. The tool allows easy creation and editing of lessons and provides printed out lesson plans that encourage lessons based on sound instructional principles and realistic estimation of time. It also provides a common language and a tool for team teaching and instructional development. The model on which it is based most closely resembles the nine events of instruction of R. M. Gagne and others. Preparation screens and event screens are illustrated, and the expert system is described. Field tests with close to 200 college students have supported the utility of the tool. The final version, still in development, will incorporate a database of useful teaching techniques drawn from ERIC citations. Six figures illustrate the screens. Two appendixes contain event categories and an evaluation form. (Contains 7 references.) (SLD)

TechTrends, 2004

T he goal of this project was to create software that supports spelling skill development among young learners, particularly in correctly identifying and discriminating between long and short vowel sound spellings. The genesis of this project comes from an elementary classroom where Hallie Yopp and Ruth Yopp, professors at California State University, Fullerton and inductees into the California Reading Hall of Fame, volunteer their time. These specialists in literacy instruction conduct weekly spelling lessons for fourth and fifth grade elementary school students in a local school district. They are often asked by teachers and parents of students in the classroom for suggestions, specifically for computer programs, to provide follow-up practice in spelling. After exploring the availability of such software, the Yopps were disappointed with the paucity of instructional media to meet their need.

Computers & Education, 2015

For first year students’ teachers of Letter anatomy and design in Communication Design BA degree, the lack of sensitivity in distinguishing types, and lack of recognition of the value of typography that most students reveal, is a concern and a strong reason to search for strategies to create stimulus, promote learning and good student work results. In order to implement the teaching of Letter anatomy, and simultaneously allow students an easy contact with a fresh and motivational view on Letter and Type, we have been applying an approach to letterform design as an expressive means of communication: more intuitive, although with the presence of the theoretical notion on Letter anatomy “on the background”. This gives way to a more structured, rational and rule oriented approach, on the following semester. We believe this set of strategies reveal a positive direction to promote student motivation towards letterform design, in a highly dedicated and joyful way, with good examples of putting into practice theoretical concepts of letter anatomy, alongside with conceptual and graphic stimulating end results. This has also promoted student’s investigation on: how to design letterform as an expressive vehicle of content and meaning; how to test the limits of legibility in the Latin alphabet in use, proposing new creative forms for letter design.