INSTRUCTIONAL DESIGN..

Instructional Design (also called Instructional Systems Design (ISD)) is the practice of maximizing the effectiveness, efficiency and appeal of instruction and other learning experiences. The process consists broadly of determining the current state and needs of the learner, defining the end goal of instruction, and creating some "intervention" to assist in the transition. Ideally the process is informed by pedagogically and andragogically (adult learning) tested theories of learning and may take place in student-only, teacher-led or community-based settings. The outcome of this instruction may be directly observable and scientifically measured or completely hidden and assumed. There are many instructional design models but many are based on the ADDIE model with the phases analysis, design, development, implementation, and evaluation. As a field, instructional design is historically and traditionally rooted incognitive and behavioral psychology.

COMPUTERS AND THE CREATIVE PROCESS...

Computers and the creative process

There is some debate whether computers enhance the creative process of graphic design. Rapid production from the computer allows many designers to explore multiple ideas quickly with more detail than what could be achieved by traditional hand-rendering or paste-up on paper, moving the designer through the creative process more quickly.However, being faced with limitless choices does not help isolate the best design solution and can lead to designers endlessly iterating without a clear design outcome.

A graphic designer may use sketches to explore multiple or complex ideas quickly without the potential distractions of technical difficulties from software malfunctions or learning the software.Hand rendered comps are often used to get approval of an idea execution before investing time to produce finished visuals on a computer or in paste-up. The samethumbnail sketches or rough drafts on paper may be used to rapidly refine and produce the idea on the computer in a hybrid process. This hybrid process is especially useful in logodesign where a software learning curve may detract from a creative thought process. The traditional-design/computer-production hybrid process may be used for freeing one's creativity inpage layout or image development as well.Traditional graphic designers employed computer-savvy production artists to produce their ideas from sketches, without needing to learn the computer skills themselves. However, this practice has been increasingly less common since the advent of desktop publishing over 30 years and its integration with graphic design courses.

TOOLS...

One may consider the mind to be the most important graphic design tool. Aside from technology, graphic design requires judgment and creativity. Critical, observational, quantitative and analytic thinking are required for design layouts and rendering. If the executor is merely following a solution (e.g. sketch, script or instructions) provided by another designer (such as an art director), then the executor is not usually considered the designer.

In addition to making key content decisions, method of presentation (e.g. arrangement, style, medium) may be equally important to the design. The layout is produced using external traditional or digital image editing tools. Selecting the appropriate development and presentation tools for each project is critical in how the project will be perceived by its audience.

In the mid 1980s, the arrival of desktop publishing and graphic art software applications introduced a generation of designers to computer image manipulation and creation that had previously been manually executed. Computer graphic design enabled designers to instantly see the effects of layout or typographic, and to simulate the effects of traditional media without requiring a lot of space. However, traditional tools such as pencils or markers are often used to develop ideas even when computers are used for finalization. Indeed, a designer or art director may well hand sketch numerous concepts as part of the creative process. Some of these sketches may even be shown to a client for early stage approval, before moving on to develop the idea further using a computer and graphic design software tools.

Computers are generally considered to be an indispensable tool used in the graphic design industry. Computers and software applications are generally seen, by creative professionals, as more effective production tools than traditional methods. However, some designers continue to use manual and traditional tools for production, such as Milton Glaser.

New ideas can come by way of experimenting with tools and methods. Some designers explore ideas using pencil and paper to avoid creating within the limits of whatever computer fonts,clipart, stock photos, or rendering filters (e.g. Kai's Power Tools) are available on any particular configuration. Others use many different mark-making tools and resources from computers to sticks and mud as a means of inspiring creativity. One of the key features of graphic design is that it makes a tool out of appropriate image selection in order to convey meaning.

Design as a process

Design as a process can take many forms depending on the object being designed and the individual or individuals participating.

Defining a design process

According to video game developer Dino Dini in a talk given at the 2005 Game Design and Technology Workshop held by Liverpool JM University, design underpins every form of creation from objects such as chairs to the way we plan and execute our lives. For this reason it is useful to seek out some common structure that can be applied to any kind of design, whether this be for video games, consumer products or one's own personal life.

For such an important concept, the question "What is Design?" appears to yield answers with limited usefulness. Dino Dini states that the design process can be defined as "The management of constraints". He identifies two kinds of constraint, negotiable and non-negotiable. The first step in the design process is the identification, classification and selection of constraints. The process of design then proceeds from here by manipulating design variables so as to satisfy the non-negotiable constraints and optimizing those which are negotiable. It is possible for a set of non-negotiable constraints to be in conflict resulting in a design with no solution; in this case the non-negotiable constraints must be revised. For example, take the design of a chair. A chair must support a certain weight to be useful, and this is a non-negotiable constraint. The cost of producing the chair might be another. The choice of materials and the aesthetic qualities of the chair might be negotiable.

Dino Dini theorizes that poor designs occur as a result of mismanaged constraints, something he claims can be seen in the way the video game industry makes "Must be Fun" a negotiable constraint where he believes it should be non-negotiable.

It should be noted that "the management of constraints" may not include the whole of what is involved in "constraint management" as defined in the context of a broader Theory of Constraints, depending on the scope of a design or a designer's position.

Design is the planning that lays the basis for the making of every object or system. It can be used both as a noun and as averb and, in a broader way, it means applied arts and engineering . As a verb, "to design" refers to the process of originating and developing a plan for a product, structure, system, or component with intention. As a noun, "a design" is used for either the final (solution) plan (e.g. proposal, drawing, model, description) or the result of implementing that plan in the form of the final product of a design process. This classification aside, in its broadest sense no other limitations exist and the final product can be anything from socks and jewellery to graphical user interfaces and charts. Evenvirtual concepts such as corporate identity and cultural traditions such as celebration of certain holidays are sometimes designed. More recently, processes (in general) have also been treated as products of design, giving new meaning to the termprocess design.

The person designing is called a Designer, which is also a term used for people who work professionally in one of the various design areas, usually also specifying which area is being dealt with (such as a fashion designer, concept designer or web designer). Designing often requires a designer to consider the aesthetic, functional, and many other aspects of an object or a process, which usually requires considerable research, thought, modeling, interactive adjustment, and re-design.

With such a broad definition, there is no universal language or unifying institution for designers of all disciplines. This allows for many differing philosophies and approaches toward the subject. However, serious study of design demands increased focus on the design process.