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Arts and Design entrepreneurship is a promising field of research that involves different disciplines. During the last decade, there has been growing interest in Entrepreneurship in Art and design, in both the scholarly literature and in practice. With this in mind, this research aimed to study different dimensions of entrepreneurial orientation(EO) in Design-based businesses, to discover, understand, and describe the special entrepreneurial characteristics of this type of business. Entrepreneurial orientation (EO) is a key concept when executives are crafting strategies in the hopes of doing something new and exploiting opportunities that other organizations cannot exploit. Based on Lumpkin & Dess studies, EO refers to the processes, practices, and decision-making styles of organizations that act entrepreneurially. Any organization's level of EO can be understood by examining how it performs relative to five dimensions: (1) autonomy, (2) competitive aggressiveness, (3) innovativeness, (4) proactiveness, (5) and risk-taking. Autonomy refers to whether an individual or team within an organization has the freedom to develop an entrepreneurial idea and then pursue it to completion. In an organization that offers high autonomy, people are offered the independence required to bring a new idea unrestricted by the bonds of corporate bureaucracy. Competitive aggressiveness is the tendency to intensely and directly challenge competitors rather than trying to avoid them. Aggressiveness includes sales & marketing strategies and competitive approaches. Innovativeness is the tendency to pursue creativity and experimentation. Some innovations build on existing skills to create incremental improvements, while more radical innovations require new skills and may make existing skills out of date. Also, innovativeness is aimed at developing new products, services, and processes. Proactiveness is the tendency to anticipate and act on future needs rather than reacting to events after happening. A proactive organization embraces an opportunity-seeking perspective. Risk-taking refers to the tendency to engage in bold rather than conservative actions. Research Question What are the dimensions of each measure of entrepreneurial orientation, including (1) autonomy, (2) competitive aggressiveness, (3) innovativeness, (4) proactiveness, and (5) risk-taking in design-based businesses? Research Method To achieve the aim of this research, a qualitative study was conducted through an exploratory-descriptive multiple case study using semi-structured in-depth interviews and observation on ten Iranian Design-based businesses. The data gathered based on the Lumpkin and Dess standard five measures for entrepreneurial orientation, which is one of the most cited measures, including (1) autonomy, (2) competitive aggressiveness, (3) innovativeness, (4) proactiveness, and (5) risk-taking, was iteratively and inductively coded and then formed the framework of the results in this study. A design-based business is a business in which design is considered as the core of its value proposition and operates with a design-driven innovation approach in the market. In this type of innovation, innovation in the meaning and design language is more important than innovation in function and technology. The selection of the sample size for the study was done using a judgmental non-random sampling method. In this regard, due to the lack of a comprehensive list of these businesses in the country, first through interviews with design experts and professionals in this field, along with checking websites, accounts on social media, online stores, and works presented in concept stores and design physical stores, a list of design-based businesses was prepared. In the next step, with a survey of experts in this field, the number of ten businesses among the businesses in this list, according to indicators such as (a) focusing on design as the main value creation factor in products, (b) quality of design and production, c) having at least five years of experience, and (d) upward growth trend of the business since its establishment in terms of attracting new customers and sales volume. Also, in addition to these ten successful businesses, interviews were conducted with the owners of three failed design-based businesses. During the research process, with the help of data collection tools including in-depth semi-structured interviews and observation, the owners of these businesses were asked to narrate in detail the process of starting and growing their business from the beginning of its establishment until now, and things such as how to identify and responding to customer and market needs and opportunities, design and production process, business strategies and how to compete with competitors, marketing and sales methods, etc., describe them with case studies in their business. Then, all descriptions and explanations of the owners of these businesses were recorded and documented. After conducting the interviews and recording and documenting them, some visits were made to the design studios and production workshops of these businesses, and at the same time, their websites and social media accounts were studied. In the next stage of the research, the themes in the collected data were extracted and the process of open coding was performed on them, and then based on the five measures of entrepreneurial orientation(EO), axial coding was done and the results of the study were extracted based on them and were analyzed. In all stages of coding, an effort was made to increase the credibility and reliability of coding by multiplying the researchers and reviewing the codes multiple times with the help of professors and entrepreneurship experts. Findings The results of the study revealed the impact of the design context in the entrepreneurial orientation(EO) dimensions. The outcomes showed that Design-based businesses, due to Design-driven innovation at the product level, have significant potential and capacity for entrepreneurial orientation, but because of dilution of their enterprise- level innovation, in terms of growth and scalability are facing some serious challenges; Also, these businesses are completely risk-taker in product innovation and significantly risk-averse in financial issues, and this risk-aversion has led to the development of more conservative business models for them; So, some strategies and activities in design-based businesses, act as driving forces and others as preventing factors for entrepreneurial orientation in these types of businesses. Focusing more on product-level innovation (innovation), investigating the social and technological trends (proactiveness), registering and exploiting intellectual property rights for design works (competitive aggressiveness), risk aversion (risk taking), and forming an open and flexible work atmosphere aligned with the independence and freedom of employees(autonomy) can be introduced as one of the main characteristics with a positive impact on entrepreneurial orientation in this type of businesses. Also, focusing more on business-level innovation, especially innovation in the business model, pioneering in identifying and exploiting economic opportunities and focusing on profitable markets, taking more risks in scaling the business and accelerating its growth speed identified as existing gaps in EO of design-based businesses; So, focusing on mentioned gaps, resolving them with solutions and their sustainable institutionalization in the business structure could be lead to more effective entrepreneurial orientation in this type of businesses and could improve their market performance. Also, a reflection on the entrepreneurial processes studied in this research showed that the different pieces of the EO puzzle in the design-based businesses are put together from different sources, some of them could be traced back to the childhood of the designers. Therefore, various factors such as individual talents and capabilities, parenting, childhood experiences, formal and informal education, and the designers' communication and networking skills as well as legal institutions and infrastructures could be effective in EO in this business ecosystem. Also, especially, the development of personal ambidexterity and developing an entrepreneurial character coupled with a designerly character is necessary for the better economic and financial performance of these types of businesses in the market. Entrepreneurial orientation is not an absolute, isolated, and inflexible concept, and all five mentioned EO dimensions are used conditionally in different situations for design-based businesses. The findings of this study at the policy-making level can lead to the setting up of the necessary infrastructures to support this type of business, and at the enterprise level, provide insights for the owners of Design-based businesses to achieve more effectiveness through entrepreneurial behaviors. [ABSTRACT FROM AUTHOR]

André LeRoy Davis is best known as the creator of 'The Last Word,' a series of one-page comic illustrations that were featured on the last page of The Source magazine. They were published non-stop in countless issues of this Hip Hop periodical from September 1990 to January 2007. This article is a compilation of edited excerpts from an interview session conducted during the winter of 2020. It was held shortly after the Schomburg Center's Annual Black Comic Book Festival in Harlem, New York. The conversation focuses on how André's experiences during his formative and adult years inspire his comic art content. We discuss his family's origins in Barbados; his experiences growing up in Brooklyn, New York; the Hip Hop culture within the High School of Art & Design when he was a student; his earliest experiences as a professional freelance artist; and the evolution of his creative process. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the creation of any work of art, whether in two or three dimension, the use of elements and principles is fundamental. It has been acknowledged across ages that the purpose of the creation of any work of art is to create some form of defined meaning or express some artistic phenomenon. It has also been acknowledged that elements and principles have a symbiotic relationship. In examining the paintings and drawings presented by students, this study seeks to explore the relationship between elements and principles as they are applied in the paintings and drawings to determine the effectiveness of this synchrony in terms of visual enhancement and the eventual creation of meaning. The study features students' work at various levels where they spontaneously created their paintings and drawings with focus on the use of elements and principles. However, their usage and application were spontaneous and not geared towards specific responses, which was necessary for the outcome of the study. From preliminary enquiry, it emerged that although students had received adequate tutorials about the use of elements and principles in the creation of artwork, they did not apply them from an academic perspective but instinctively. It was therefore envisaged that focusing on the quality of their work would ultimately yield better results about their comprehension of the use of elements and principles as featured in their work. This study, therefore, used the execution and analysis of their practical work as testimony to their comprehension. The selection of 35 presentations, including black and white pencil drawings, provided a wide spectrum and depicted how students used and understood the application of both elements and principles and were deemed adequate for the study. The paintings featured the use of colour as an integral element, and the pencil drawings were strong in depicting textural effects and using value. The presentations featured different subject matter which was important for the creative essence of work. [ABSTRACT FROM AUTHOR]

This article discusses the importance of renewable energy education and proposes a renewable energy art and design (READ) approach to enhance learning and contribute to the transition towards clean energy sources. The READ approach focuses on teaching students about solar PV energy through hands-on experience and engagement. It emphasizes the flexibility and inclusivity of the approach, as well as its potential for interdisciplinary learning. The article also highlights the use of art and design in renewable energy education and describes the development and implementation of the READ approach. The approach has been successful in providing a pathway for renewable energy education and has received recognition in an international design competition. Ongoing testing and refinement of the approach will be conducted to measure its effectiveness. The study was funded by the Penn State Institutes of Energy and the Environment Seed Grant Program. [Extracted from the article]

Purpose: The objective of this study is to investigate the influence of anime on the prevalence of Japanese popular culture among Art and Design students. Design/Methodology/Approach: This study employed a questionnaire-based quantitative survey of 186 college students enrolled in arts and design programmes at three higher education institutions. Five Likert-scale questionnaires were utilised to collect the data, which was subsequently analysed using SPSS (Statistical Package for the Social Sciences). Findings: The majority of respondents had rather limited time to watch anime. This is due to the time constraints for completing their tasks and projects. That was proven by the low average viewing rate of anime among respondents. The findings showed only 39 respondents watched anime for more than 6 hours and above, while the majority of 147 others, or 79%, watched anime for 5 hours and below in a week. Nevertheless, the influence of Japanese popular culture still has a significant impact on this study, even at low and moderate levels. Conclusion: This study found that anime has managed to spread the influence of Japanese popular culture among respondents despite being weak and moderate. This result was also due to the low frequency of watching anime. The data may be different if the average frequency of watching anime is high. Research Limitations: This study is limited to art and design students only. For future studies, it is recommended that studies be conducted on other majors to find the difference in results. Contribution to Literature: This study may add to the literature of relatively understudied anime-related studies, especially in Malaysia. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Information on the August 2023 issue of the "The International Journal of Art & Design Education" is presented, including information for subscribers, table of contents and editorial board.

This case study conducted in a first-year Foundation studio course analyzes the effectiveness of using Team-Based Learning (TBL) strategies in an art and design context. Each studio class is composed of a wide and disparate range of learning levels that are dependent on factors such as cultural background, motivation, ability and/or disability, and diverse chosen majors with different background knowledge. Therefore, differentiated instruction must be built into each class, where student-centered group discussions are key to learning course content from different perspectives. Conducting research, with the support of Faculty Learning Communities focusing on teaching first-year students and inclusive pedagogy, initiated the insertion of both TESOL (Teaching English to Speakers of Other Languages) and TBL methods as a solution to those challenges. The study examines how TBL in a beginning art and design studio course promotes student engagement, active learning, and a clearer understanding of course content through student-centered discussions. The study argues that by creating consistent student teams, some of the unique challenges of learning in the first year, such as social isolation in a new environment or difficulty tackling unfamiliar content, can be solved. Establishing learning communities in the studio classroom through teamwork not only reflected an increase in overall attendance but social and academic growth. This study contributes an art and design studio-learning perspective to the research on Team-Based Learning, which has focused predominantly on TBL teaching approaches in business, health, and the social sciences. [ABSTRACT FROM AUTHOR]

This article discusses some implications of working supportively with art and design students who manage mental health conditions in a postgraduate environment in a New Zealand University. The paper begins with a discussion of contesting research that considers relationships between highly creative thinkers and certain mental health conditions. It then proposes that, irrespective of arguments around correlations, supervisors are able to make a significant contribution to supporting candidates who combine autobiographically sourced knowledge with artistic inquiries into the experience of living with a mental health condition. In considering this proposition, the paper employs two case studies that illustrate certain strategies that proved useful when seeking to maximise the chances of successful and productive thesis completions. Working in tandem with wider institutional and therapeutic support, these strategies functioned alongside each candidate's research journey. Eight of these approaches are discussed in relation to a pedagogically responsive, informed and creatively supportive environment in which the students were able to develop complex and insightful research projects. [ABSTRACT FROM AUTHOR]

This essay examines Sonia Delaunay's efforts to promote her simultaneous dresses made in 1913–14. Departing from traditional art‐historical accounts which treat Robert Delaunay's simultanism as a painterly, modernist practice, I situate Sonia Delaunay's fashions and her attendant publicity as an avant‐gardist move from art into life. Throughout, the essay traces how Delaunay strategically photographed herself wearing her dresses and promoted the circulation of such photographs within the popular and avant‐garde press as a means of generating visibility and attention for herself as a (woman) artist. Highlighting the gendered constraints that originally led her to the applied arts, the essay ultimately argues that Delaunay offers an early and alternative art‐into‐life narrative of the avant‐garde: one in which a woman artist embraces the everyday and the decorative arts only to turn that embrace into a highly visible, public, and sellable production. [ABSTRACT FROM AUTHOR]

Today, in design education, designers can focus on image production rather than the experience of the space and the tactile qualities of the materials used. The study which was held with reference to this situation, aims to develop holistic perception skills; to discuss the interactive roles of the senses in perception and representation; to raise awareness about the concepts of place, volume, space; and to use this awareness in design. Within the scope of the workshop conducted with the undergraduate students of Mimar Sinan Fine Arts University, Department of Interior Architecture, the participants were asked to do sensory reading exercises in the places they chose and then to represent their sensations and to use this data in the design of a city furniture. After the design process a survey was conducted to get feedback from the students. The results confirm that vision is the primary sense in perception; the fact that students focus on different senses in the space did not change this situation. In the stage of representation, the form and movement elements in the spaces were the most effective. The significant relationship between reflection and design phases showed that representation studies have positive effects on design processes and that such practices can be included more frequently in education programs. [ABSTRACT FROM AUTHOR]

Global technological transformations revolutionize the design process both in conceptual and technical senses and add new meanings to the area of design. The design parameters of past eras are incomparable with today's design parameters. To define and forecast revolutions, Grinin and Grinin (2013) put forward the theories of production revolutions and production principles, to classify global technological transformations. Today, humankind experiences the primary modernization stage of cybernetic revolution and according to forecasts will pass to third ‘stage of self-regulating systems’ within the 2030s and 2040s. In the light of the information acquired by the production revolutions and the theories of production principles and in the context of industrial design, one discussed within this study the programmable materials, which can be accepted as the pioneer of self-regulating systems. In programmable materials, 4D printing technology that began to be developed in mid-2010, was analyzed. The scenarios on the future of 4D printing and programmable materials were included and forecasts were put forward to assume how these scenarios will affect the design profession. This study emphasizes the necessity of adapting the industrial design profession to the contemporary by broadening its scope, and questioning and renewing the context of the profession, with the emphasis on digitalization being at the forefront. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Established approaches to art history pedagogy typically involve a primarily passive form of instruction incorporating the viewing of works projected on screens. While such approaches can convey valuable information, they can also contribute to student disengagement and do not necessarily support deep learning. This article examines three learning initiatives incorporating an immersive teaching space to determine how these forms of technology-enhanced active learning might enhance student comprehension and engagement. The article considers how learning design incorporating the affordances of such immersive environments can provide multimodal learning experiences that stimulate student imaginations and support learning and engagement in a manner that complements rather than replaces traditional modes of instruction. [ABSTRACT FROM AUTHOR]

Rufino Ferreras. Responsable de Desarrollo Educativo del Museo Thyssen-Bornemisza

Programming plays a huge role in the world that surrounds us, and though its uses are often purely functional, there is a growing community of artists who use the language of code as their medium. Creative coding is a type of computer programming. It is used to create live visuals, creating visual art and design, art installations, projections and projection mapping, sound art, advertising, product prototypes, etc. Media art as had been flourished in Egypt in the nineties of 20th century. Many media artists are trying to identify themselves by new form, and challenging mediums. Hence programing and coding, become passion of young media artists, now there is a growing community of artists in Egypt who use the language of code as their medium. Their work includes everything from computer generated art to elaborate interactive installations, all with the goal of expanding our sense of what is possible with digital tools. While programming as a medium for art is established, there is still much room for discussion on how creative coding practice may be carried out. In what ways may software development, made conducive to artistic creativity? Are media artists facing challenges in expressing their digital artworks for Egyptian audience? What difficulties they are going through? Does non-profit organizations had a role growing of those artists & designers? Can creative coding change perception of art in art & design faculties? This paper aims to present young media artists, who are dealing with digital aesthetics, and investigate an answer for the questions, which had shown above.

This article will examine the RIPPING ATOPOS project initiated by the Athens-based ATOPOS Contemporary Visual Culture Organization (ATOPOS). In this project, contemporary artists and fashion designers are commissioned to create their own works of art or garments, either inspired by specific pieces or by using duplicates of the 1960s paper dresses from the ATOPOS collection. The article describes results of the collaborations with the different artists and fashion designers. The project has enabled ATOPOS to investigate new ways of handling, managing and displaying its collection. [ABSTRACT FROM AUTHOR]

The exhibition Cabinets of Costume was undertaken as part of an international conference, Culture, Costume, and Dress at Birmingham City University (BCU) in May 2017. Its aim was to highlight two study collections held at BCU — the first, the Historical Dress Archive, which includes the Kate Elizabeth Bunce objects, and the second, the Art and Design Archives. Referencing the previous practice of object-based study to inform current practice at the Municipal School of Art, Birmingham, this paper will explore the cultural and creative capital of this assemblage of everyday historic dress uncovered in 2012 at BCU. Focusing on the Historical Dress Archive the initiative was developed to enable undergraduates across the faculty of Art, Design and Media at BCU to study extant historical dress, creating five representations or 'ghosts' of the objects of study. The initiative and exhibition offered an opportunity for a student-academic partnership to share the practices of object-based study as a creative catalyst, to inform costume practices as a live project. [ABSTRACT FROM AUTHOR]

The article is devoted to the description of the practical and theoretical development of the formal sphere and will be useful for practitioners, theorists of design art, students, future designers. But this is impossible without extensive and solid knowledge of the objective, evolutionary development of form in the visual arts. We see one of the solutions to this problem as developed by the authors of the analytical schematic tasks presented in this article. Thus, thanks to the analysis of formal components in the creative products of wellknown personalities, the student will be more ready to create their own copyright works. [ABSTRACT FROM AUTHOR]

This article investigates the ways in which drawing is taught and assessed in post‐16 UK schools and colleges, with a particular focus on A Level art and design courses. Through an historical survey of the development of syllabi and assessment methods, it traces how the role of drawing in the curriculum has changed over the past sixty years. From a series of prescribed observational drawing exercises, the A level exam has evolved into a holistic exploration of each student's creative process, and drawing is now seen mainly as an integral part of that process. The article demonstrates how the art history element of the syllabus has also been gradually integrated into practice, and thus into the drawing process itself. Questions are raised about how these changes have influenced the nature of the portfolios which students entering higher education bring to interview. In short, this article seeks to answer the question: do we now teach and assess observational drawing skills 'through a glass darkly', obscured by other considerations within the art educational curriculum? [ABSTRACT FROM AUTHOR]

With the emergence of an entire generation of technologically infused learners comes a new challenge for educators to combat their desire for technologically enhanced isolation. The impact of social media on self‐absorption and the ramifications of excessive screen time are already evident in our current generation of tech‐native students. Meanwhile, the need for more empathetic employees who show compassion toward clients, exercise tolerance for co‐workers and demonstrate cultural awareness in all aspects of their work is already being prioritised over discipline‐specific skills and even STEM expertise by current business leaders. Similarly, the demand for more empathetic creatives is being catalysed by a design industry that now values human‐centredness. Empathy brings the human component to user‐experience and interface design and is now widely acknowledged as the first step in any design process. As a corollary, the development of empathy as a pedagogical deliverable will not only be necessary for the workplace of the future but for future generations to become fully‐functioning members of society. This research explores how an inclusive art and design pedagogy can foster collaborative learner‐centred approaches to develop empathy as a key component of emotional intelligence. Our methodology for triggering meaningful experiences and transformational growth harnesses collaborative play as a way to engage learners in stimulating, socially conscious teamwork. By becoming more intentional about designing the future of higher education in order to nurture more empathetic career creatives, we also lay the groundwork in preparation for educating the most technologically advanced, yet potentially socially isolated learners of any generation yet. [ABSTRACT FROM AUTHOR]

Reflecting on how 'transition' can be interpreted in the context of an art and design college, this article will discuss how the access programme at the National College of Art and Design (NCAD), Dublin supports the art students' lifecycle in, through and out of college. The article will present an overview of NCAD's access programme and will track its development as it has evolved and how, through a series of targeted initiatives and key partnerships it has identified, retained and supported students beyond graduation. The NCAD has a distinctive widening participation programme that is embedded in the School of Education but is part of the organic culture of the art college. This support enables the mainstreaming of NCAD's access policy through its engagement with schools and community, seeking to raise aspirations and awareness of art and design as a life option for young people. [ABSTRACT FROM AUTHOR]