Student-Led Critical Discussion

Week	Reading	Assigned artist/artwork
W2	Dondis, D. A. (1974). “Composition: The Syntactical Guidelines for Visual Literacy.” In A Primer of Visual Literacy (pp. 20–38). MIT Press.	Ding Yi [China], Appearance of Crosses series
W3	Dondis, D. A. (1974). “The Dynamics of Contrast.” In A Primer of Visual Literacy (pp. 85–103). MIT Press.	Carmen Herrera [Cuba], Blanco y Verde series and selected hard-edge geometric paintings
W4	Pater, R. (2016). “Colour and Contrast.” In The Politics of Design (pp. 63–94). BIS Publishers.	Pacita Abad [Philippines], European Mask
W6	Munari, B. (2008). “Concave-Convex Forms,” “Continuous Structures,” “The Tetracone,” “Yang-Yin,” “Moiré,” and “Direct Projections.” In Design as Art (P. Creagh, Trans.). Penguin Books. Original work published 1966.	Monir Shahroudy Farmanfarmaian [Iran], Convertible series and selected mirror sculptures
W7	Munari, B. (2008). “The Square,” “The Circle,” “Theoretical Reconstructions of Imaginary Objects,” “Exercises in Topology, or Rubber-Sheet Geometry,” and “Two Fountains, Nine Spheres.” In Design as Art (P. Creagh, Trans.). Penguin Books. Original work published 1966.	Gyula Kosice [Czechoslovakia; active in Argentina], Hydrospatial City
W8	Dondis, D. A. (1974). “Visual Techniques: The Communication Strategies.” In A Primer of Visual Literacy (pp. 104–127). MIT Press.	Ryoji Ikeda [Japan], datamatics series
W9	Munari, B. (2008). “Graphic Design.” In Design as Art (P. Creagh, Trans., pp. 84–99). Penguin Books. Original work published 1966.	Ikko Tanaka [Japan], Nihon Buyo, Kanze Noh Play, and selected cultural-event posters
W10	Pater, R. (2016). “Language and Typography.” In The Politics of Design (pp. 18–23, 26–45). BIS Publishers.	Sonny Assu [Ligwilda’xw Kwakwaka’wakw, Canada], 1UP and selected works from Comic Sans
W11	Dondis, D. A. (1974). “The Anatomy of a Visual Message.” In A Primer of Visual Literacy (pp. 67–84). MIT Press.	Norval Morrisseau [Anishinaabe, Canada], The Storyteller: The Artist and His Grandfather and selected paintings of animals, humans, and spirit beings
W12	Dondis, D. A. (1974). “The Synthesis of Visual Style.” In A Primer of Visual Literacy (pp. 128–145). MIT Press.	Wangechi Mutu [Kenya], selected collage works and hybrid figures

Introduce the reading and author

Briefly identify:

• The author
• The title and context of the assigned reading
• The reading’s general subject
• Why it is relevant to visual design

Keep this introduction concise. Do not provide a detailed biography or summarize every section of the reading.

Introduce the artist and artwork

Briefly identify:

• The artist
• The artist’s location, background, or historical context when relevant
• The assigned artwork, series, or body of work
• The medium, materials, format, or design context
• The main visual or conceptual concerns of the selected work

Use clear, high-quality images. Include the title, year, and source for every image when that information is available.

Select two ideas

Select exactly two ideas from the assigned reading that capture the team’s attention and help interpret the assigned artwork.

For each idea:

1. State the idea clearly.
2. Explain it in your own words.
3. Refer to a specific passage, example, or section from the reading.
4. Select a specific artwork or visible detail by the assigned artist.
5. Explain how that visual example demonstrates, applies, complicates, or challenges the idea.
6. Describe why the connection matters for design practice.

The two ideas do not need to represent the entire reading. Prioritize ideas that create meaningful connections with the assigned artistic examples.

Do not include any other artistic examples outside the assigned artist.

Organize the presentation around connections

Do not present a long reading summary followed by a separate artist biography. Organize the main section around two direct idea–artwork connections:

• Connection 1: Reading idea + specific artistic evidence
• Connection 2: Reading idea + specific artistic evidence

Use visible evidence such as:

• Shape and form
• Composition
• Repetition and variation
• Structure and spatial organization
• Colour and contrast
• Typography and language
• Scale and hierarchy
• Material and texture
• Figure and ground
• Symbolism and representation
• Production or display methods

Avoid general statements such as “the artist uses contrast” without identifying where the contrast appears, how it is constructed, and what it communicates.

Activity purpose

Create one structured, hands-on activity that helps the class examine the relationship between the assigned reading and artwork.

The activity must use only:

• Ideas or passages from the assigned reading
• Images or details from the assigned artist or artwork
• Physical materials prepared by the presenting team

Do not introduce an unrelated artist or design example as the basis of the activity.

Hands-on activity requirement

The activity must be designed around physical materials and in-person participation.

Do not require the class to complete a digital activity using:

• Cellphones
• Laptops
• Tablets
• Online polls
• Shared digital documents
• Websites or apps
• Digital drawing or design software

Projected images may be used as visual references. The core activity must involve physical materials such as printed images, paper, cards, sticky notes, drawing tools, or movable design elements.

Students may still use personal assistive technology or an accessible equivalent format. Build more than one participation option into the activity.

The presenting team is responsible for preparing and bringing all required materials.

Activity requirements

The activity must:

• Be hands-on and non-digital
• Have one clear purpose
• Apply at least one of the two selected ideas
• Use specific visual examples from the assigned artist
• Include concise instructions
• Invite interpretation, comparison, analysis, making, or debate
• Allow multiple supported responses
• Provide options that do not require drawing, fine-motor manipulation, colour identification, or speaking to the full class
• Include time for the team to hear and respond to class contributions
• Fit within the assigned 11–12 minutes

The activity should not be a factual quiz or a series of questions answered only by the presenting team.

Possible activity formats

• Compare printed reproductions of two works or visual details by the assigned artist.
• Match printed reading concepts with specific visual evidence.
• Annotate a printed reproduction of an artwork.
• Rank printed examples of artistic decisions according to a concept from the reading.
• Identify and mark where a visual principle appears in an artwork.
• Reorganize printed visual elements and discuss how the meaning changes.
• Respond to a printed statement from the reading and support the response with artistic evidence.
• Complete a short written or drawn response before sharing with a partner or the class.
• Sort image details, quotations, or design decisions into physical categories.
• Create a brief alternative composition using paper shapes, image fragments, or movable design elements.

Prepare facilitation prompts

Prepare two or three open-ended prompts that can support the activity.

Strong prompts ask students to:

• Point to visible evidence
• Use a concept from the reading
• Compare interpretations
• Explain a design decision
• Consider how form affects meaning
• Connect analysis with their own creative practice

Avoid questions that can be answered with only “yes,” “no,” or a definition.

Plan participation

Use a structure that allows several students to contribute, such as:

• Individual reflection followed by paired discussion
• Small-group analysis before whole-class sharing
• Assigned roles within groups
• Written or drawn annotation followed by verbal responses
• Physical sorting or arrangement followed by explanation
• A show of positions followed by discussion
• Turn-taking with a clear time limit
• A quiet individual option with an equivalent way to share the response

The presenting team must explain the instructions, distribute the materials, track the time, invite responses, ask follow-up questions, and summarize what the class discovered. Divide these responsibilities across the team; one person does not need to complete every role.

Submission deadline

Each team must submit its materials at least one day before the scheduled presentation.

Submit

• Presentation slides as a PDF: Week#-Presentation.pdf
• Discussion activity instructions as a PDF: Week#-Discussion-Activity.pdf
• Printable activity materials or handouts as PDFs

Replace Week# with the assigned week number, such as Week4-Presentation.pdf.

Before submitting, confirm that each PDF has selectable text, a logical reading order, readable type, strong contrast, descriptive headings, and image descriptions. Provide captions or a transcript for required audio or video.

Assessment criteria

Criterion	Points	Expectations
Submission requirements and deadline	1.0	Submits all required presentation and activity materials by the deadline, using the required file formats and filename structure.
Required content and depth	1.5	Includes all required components: a concise introduction to the reading and author, an introduction to the artist and artwork, and two clearly explained ideas from the reading. Demonstrates accurate understanding and examines the selected ideas in sufficient depth.
Analysis and reading–artwork connections	1.5	Develops clear and meaningful connections between the two selected ideas and specific examples from the artist’s work. Uses visible evidence to explain how formal, material, conceptual, or communicative decisions relate to the reading.
Discussion activity and class participation	1.5	Leads a purposeful, well-prepared, hands-on activity based only on the assigned reading and artistic examples. Provides clear instructions and successfully encourages active participation, interpretation, and discussion from the class.
Engagement, communication, and facilitation	1.5	Maintains class engagement through clear communication in an agreed format, effective pacing, coordinated team roles, accessible materials and instructions, responsive facilitation, and active interaction with participants.
Total	7.0

General summaries, unrelated examples, unsupported claims, unclear activity instructions, or exceeding the time limit will weaken the assessment.

Final checklist

• We confirmed our week, group, assigned reading, artist, and artwork.
• Every team member made a documented contribution.
• The presentation introduces the reading, author, artist, and artwork concisely.
• We explain exactly two reading–artwork connections using specific evidence.
• Every image includes a title, year, source, and useful caption or description when available.
• Slides and handouts use readable type, strong contrast, clear headings, and do not rely on colour alone.
• Required audio or video has captions or a transcript.
• The activity uses the assigned reading and artist, has a clear purpose, and offers multiple ways to participate.
• Written and spoken activity instructions are concise and easy to follow.
• We rehearsed the complete session and can finish within 25 minutes.
• The presentation, activity instructions, and printable materials use the required filenames and open correctly.

Files that cannot be opened, identified, or accessed may need to be resubmitted and may be considered late. Missing presentation components, inaccessible required media, or incomplete activity materials will affect the grade.