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New technologies have made the world highly visual, making visual literacy an important and relevant 21st-century skill. Educators and students are often required to produce visual communication products such as infographics, but they often lack the confidence and proficiency in visual design skills to create higher-quality infographics. We conducted a case study to examine how graphic and instructional designers perform the visual design process (i.e., a series of actions performed in composing an infographic, such as creating layout and alignment) when applying visual design principles. The goal was to investigate the visual design processes and identify differences in the strategies used to develop higher versus lower quality infographics rated across 18 design criteria. We identified the design actions and computed the transitional probability between the design actions to construct a process model for composing effective infographics. Results reveal that high-rated infographics were developed using a more systematic approach, starting by creating a well-planned structure (e.g., setting margins and columns) followed by setting spatial zones to map out a visual hierarchy prior to working on fonts, colors, and graphic elements, and using a consistent application of visual rules. These target processes were encapsulated into a five-stage Infographic Visual Design Model.

In this article, we discuss the lessons learned in a system thinking course developed in a multicampus, distance-learning environment. Forty-six undergraduate students were involved; the students were from four campuses of the Federal University of São Paulo, Brazil. We explain the course design, curriculum and online components. We analyze the effectiveness of the use of art (visual art, literature, performing arts and media arts) in fostering the students' interest, engagement and learning. In order to gather data, we used a convergent parallel mixed method approach. We made systemic analysis of the data collected. We found that the use of music, poetry, stories and films helped students to make connections between theory and practice, thereby improving their learning. Students' use of these materials also increased their enthusiasm for the course. We also found that the visual arts, in particular, fostered the students' curiosity, increasing their engagement in the proposed activities.

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Asking about a possible aesthetic formation for teaching in visual arts may seem obvious, however, based on a survey of texts carried out in the archives of four important events for the areas of Art and Education in Brazil, they are: "Reunião Anual da Associação Nacional de Pós-Graduação e Pesquisa em Educação -- ANPEd"; "Encontro Nacional da Associação Nacional de Pesquisadores em Artes Plásticas -- ANPAP"; "Encontro Nacional de Didática e Prática de Ensino -- ENDIPE"; "Congresso da Federação de Arte Educadores do Brasil -- CONFAEB", it was possible to identify that the relationships between the themes of aesthetics, teaching and visual arts are distinct and point to different issues within the field of teacher education. The texts were analyzed under the inspiration of Michel Foucault's discourse analysis, texts that were published between the years 2008 and 2015. In them, it was possible to identify a system of regularities and dispersions that made visible the existence of four trends in the ways in which they are placed in relation to the themes of art, teaching and aesthetic formation. At the end of the text, I propose some questions to problematize what we have done in relation to the training of teachers in arts with the intention of launching clues on the issue that mobilized the study the aesthetic dimension of the study of teachers of visual arts. [ABSTRACT FROM AUTHOR]

In this article we reflect on the way journalism mediates the existence of blockbuster visual arts exhibitions while elaborates a map of perceptions on them. We explore evidences and approaches of the qualitative analysis of the coverage of six exhibitions that happened in Brazil between 2010 and 2016. In dialogue with cultural studies, and based on the event studies, we propose the reading of 20 stories, punctuating the cognitive map that journalism builds on the event. By systematically demarcating its salience, journalism participates in the creation of the aura effect of these events, promotes the cult of biography and silences the public. [ABSTRACT FROM AUTHOR]

This article shares some of my doctoral experiences in a practice-based PhD research in arts developed at the Chelsea College of Arts, University of the Arts London. It locates art practice within the academic research realm and contributes to researchers working on autobiographical studies and practice-based research methods. By offering an overview on my research topic focusing on the relationship between language and place in the life of Brazilian women living in London, I reflect on the relevance of “not-knowing” as a fruitful space for researching autobiographical and situated life narratives through art practice. The article concludes that qualitative methods are relevant for building passages from the individual to the collective sphere of an art practice developed within geographical displacement and in the context of academic research. [ABSTRACT FROM AUTHOR]

This work shed light into the discussion about the inclusion of Art as a mandatory discipline in the curriculum of elementary schools in Brazil. It focus basically on the transformations occurred in this area during this insertion process and also articulates these changes with historiography studies on school disciplines carried out by Ivor Goodson. By understanding the curriculum as an arena of time-and-space for negotiation and disputes, we have brought the ideas of Bernstein about autonomy, power relationships and discipline control in order to think the way that Arts was and is inserted nowadays into the scholar curriculum. Also, our aim is to understand how Art is structured and the way that it articulates itself with the pedagogic context and tensions formed by the relationship between Arts and the other disciplines. We argue that senses constructed by political means, by culture systems and discourses that are attributed to different knowledge and school practices produce conflicts and disputes that are redefined and recontextualized by teachers and students and, in this sense, Arts is still placed in an unprivileged space in the scholar brazilian curriculum. [ABSTRACT FROM AUTHOR]

The article presents an outline of a study resulting from an action research conducted with a group of 7th graders of an Elementary School located at south of Rio Grande do Sul State, Brazil. Based on theoretical areas of Anthropology, Psychology and Art History, the study underscores the importance of masks in cultural and artistic manifestations and their ancestral and contemporary character, which favor its use as propulsion forms of artistic learning. Through teaching practice including research, the study analyzed the elements of student identification with its artistic production, and what these elements revealed and concealed based on the creation of masks and texts produced. The study results indicate that, transcending boundaries of space/time and entering into meaningful processes of subjectivities, the educational use of masks made it possible for learners to emerge from spaces for production and artistic experiences that by enhancing their means of expression, they could produce knowledge about themselves and their classmates. [ABSTRACT FROM AUTHOR]

Amilcar de Castro played a central role in the process that radically transformed the visual and editorial content of Jornal do Brasilin the late 50's.In the following interview, carried out in 1977 and never published before, the artist discusses the solutions adopted to adjust the form of the paper to the new content. [ABSTRACT FROM AUTHOR]