mardi 23 novembre 2010

Graphic Design : Digital Art Revolution: Creating Fine Art with Photoshop

Digital Art Revolution, Creating Fine Art with Photoshop is not a book that teaches readers to process photos in order to mimic various styles from art history. This is a book that familiarizes the reader with the fundaments of visual communication and self-expression and then shows them how to apply these principals to digital art. It demonstrates the expansive and revolutionary possibilities inherent in the medium and guides the reader towards utilizing these possibilities to develop their own unique voice as an artist... (posted by Jennifer Apple for www.PhotoshopSupport.com)

Digital Art Revolution: Creating Fine Art with Photoshop
November 16, 2010

Digital Art Revolution: Creating Fine Art with PhotoshopDigital art functions as a revolutionary tool that integrates with virtually every medium even while it obliterates the boundaries and definitions of mediums. Digital Art also functions as a medium, in and of itself, with its own unique and inherent qualities. Digital technology also gives us unprecedented opportunities for the dissemination of ideas and creative work. Digital Art Revolution, Creating Fine Art with Photoshop explores a small but significant portion of the revolution: creating digital fine art in Photoshop.

Digital Art Revolution, Creating Fine Art with Photoshop is written by digital artist and filmmaker Scott Ligon. The book is published by Watson-Guptill, a subsidiary of Random House, the premier publisher in books. The international release date for the book is March 9, 2010. The book features work from some of the most successful and innovative digital artists working today, including Bradley Wester, Stephen John Phillips, Viktor Koen, Davida Kidd, Steven Vote, John Jost and Mark Mothersbaugh (who is also a film composer and singer for Devo).

Digital Art Revolution, Creating Fine Art with Photoshop is not a book that teaches readers to process photos in order to mimic various styles from art history. This is a book that familiarizes the reader with the fundaments of visual communication and self-expression and then shows them how to apply these principals to digital art. It demonstrates the expansive and revolutionary possibilities inherent in the medium and guides the reader towards utilizing these possibilities to develop their own unique voice as an artist.

Rather than imitating art history and the great, unique artists that made it, it is a book that encourages artists to explore the possibilities of digital art and make art history. The book offers “how”, but just as importantly, it offers “why”. All instruction is placed within the larger context of understanding the visual language and using it for expressive purposes.

It is quite possible to use Photoshop and a drawing tablet to paint in a manner that closely approximates traditional painting in both method and result. Photoshop is also, of course, an amazing photo-editing program, capable of manipulating photographic material in endless ways, with great efficiency. Many programs do one or the other. It is the ability to draw, paint, manipulate photos and other materials, and most importantly, combine them into something new and cohesive, which makes Photoshop the ideal choice for this book.

About Scott Ligon, “Digital Art Revolution” Author
Digital Art Revolution: Creating Fine Art with PhotoshopScott Ligon is a digital artist and filmmaker. His work is frequently exhibited and has won several awards. Two years ago he relocated from his native Virginia to Cleveland, Ohio, in order to accept a job as the coordinator for the digital foundation curriculum at the Cleveland Institute of Art.

He received his MFA from the Maryland Institute College of Art where he studied under renowned original abstract expressionist Grace Hartigan and attended “Perspectives on Criticism” classes taught by Robert Storr, formerly senior curator of painting and sculpture at New York’s Museum of Modern Art.

Early in his career, Scott made a living as a graphic designer and illustrator for ad agencies around the Washington DC area. This enabled Scott to learn digital art software. Scott utilized his perspective as a painter to explore the expansive possibilities of digital technology as an art-making tool. His animated short film, “Escape Velocity”, painted in the style of his digital paintings, has played in festivals and theaters all over the world, including screenings in Moscow, London, Toronto and San Francisco.

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Prépresse : Les soldes de fin d’année

Plusieurs fabricants et développeurs proposent aux professionnels de l’industrie graphique des offres promotionnelles. Des offres groupées et des soldes sont offerts notamment par Contex sur ses numériseurs grand format et systèmes multifonctions. Utimate Technographics et Markzware s’associent dans une promotion spéciale portant sur leurs logiciels respectifs de contrôle en amont et d’imposition FlightCheck Professional, Absolutely Imposing, Impostrip On Demand Econo et On Demand Digital Automation. Plus d’informations sur les sites web de chaque société.

Posted via email from Steve Prud'Homme Prepress Blog Collage

lundi 15 novembre 2010

Graphic Design : 22 Cool Typography Print Ads – Pictures that speak out!


 

Ever thought which is the hardest job for graphic designers? Let me…It is to effectively visualize a concept into a single image. This is the exact requirement in creating a powerful print ad for newspaper, magazine or billboards. A print ad copy consists of two elements: visual imagery and typography. Although a picture is worth a thousand words, but the power of words cannot be underestimated. And the best way to illustrate words is through effective use of typography.

 

Challenges for Graphic Designers in Print Ads:

Creating print ads is quiet a challenging job for the graphic designers. There are a few reasons that cause the making of print ads a little tricky, e.g:

  • Say more in Less Space: For starters, a print medium has less space than any other advertising medium. You need to communicate efficiently and effectively.
  • Lack of Emotions: Print ads lack the emotions that TV ads carry. You need to manipulate the words and pictures to create an attractive copy.
  • No Sound or Visual effects: In creating a print ad there are no visual aids or sound effects, you use an immovable media to create a moving ad.

In order to get a better understanding of how typography serves the effectiveness to print ads, let us take a look at some of the brilliant ads. For your understanding and inspiration, I have collected 22 creative typographic print ads.

 

Absa Bank

Typography Ad 1
 

BMW is joy

Typography Ad 1
 

Brizo

Typography Ad 1
 

Burger King: Wrap

Typography Ad 1
 

You Don’t have to stay inside the lines

Typography Ad 1
 

Coca Cola

Typography Ad 1
 

Folha de S. Paulo newspaper: Monroe

Typography Ad 1
 

McDonald’s: Room Mate

Typography Ad 1
 

Hyundai – Designed for Humans

Typography Ad 1
 

Mint Museum of Toys: Tin Toys

Typography Ad 1
 

into1

Typography Ad 1
 

Nissan Xterra Jokes

Typography Ad 1
 

Mitchell Eye Centre: Trash

Typography Ad 1
 

Optimum health gym: Fat

Typography Ad 1
 

Orange – SMS

Typography Ad 1
 

Pivot Boutique Karma

Typography Ad 1
 

PlayStation 2: Girlfriend

Typography Ad 1
 

Samsung Omnia

Typography Ad 1
 

Sun-Rype: Trees

Typography Ad 1
 

Take a break from the Sun

Typography Ad 1
 

The Economist : maze

Typography Ad 1
 

The Prevention Plan

Typography Ad 1
 
 

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Graphic Design: So You Need A Typeface Poster


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View larger image here

Designed by Julian Hansen, 22-year-old graphic design student from Copenhagen.

24 x 18″ Art Print

Printed on Astrobrights Eclipse Black 80# Cover
Metallic Silver Ink (PMS 877)
Printed offset
Open Edition
$22

BUY IT HERE

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Graphic Design: 25 Free Sports Vector Logos


If you are a regular user of WDB you probably know about the other great release on sports topic. To be more specific you can also view the following articles: 13 Various Sports Vectors Mega Sports Vector Collection In this pack you will receive...

3 Vote(s)

25 Free Sports Vector Logos

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Graphic Design : How to Avoid Common Logo Design Mistakes


One of the easiest ways to distinguish a company is by having a unique and memorable logo; however, creating a unique and memorable logo is not as easy as it sounds. Here are 12 common logo design mistakes that amateur logo designers often fall victim to.

Typographic chaos

Typography in logo design can make or break a design, so it’s vital you know your typographic ABCs. A logo should be kept as simple as possible while still portraying the intended message, and for this to happen, one must consider all typographic aspects of the design.

Don’t use too many fonts or weights (two maximum). Don’t use predictable, crazy, or ultrathin fonts. Pay close attention to kerning, spacing, and sizing and most importantly, ensure you’ve chosen the right font(s) for the project at hand.


Take note how this logo uses just one font family but with different styling. The italic letterforms convey speed while the bold emphasizes the ease of the service.

Poor font choice

As touched on above, when it comes to creating a logo, choosing the right font can make or break a design. Font choice can often take as long as the creation of the logo mark itself and it should not be done briskly.

Spend time researching all the various fonts that could be used for the project, narrow them down further, and then see how each one gels with the logo mark. Don’t be afraid to purchase a font, modify one, or create your own. Also, keep in mind how the logo’s font could be used across the rest of the brand identity in conjunction with other fonts and imagery.


All fonts have their own personality, so you should choose the right “font personality” for the job at hand. The font chosen in this logo is much more serious than, say, a hand-drawn font, which would convey very different attributes.

Too complex, too abstract

Simple logos are more memorable as they allow for easier recognition; however, for a logo to be memorable and stand apart from the crowd, it must have something unique about it, without being too overdrawn. Not only does simplicity make a logo more memorable, but it also makes the logo more versatile, meaning it can work over more mediums. For example, a logo should work on something the size of a postage stamp and on something as large as a billboard. Don’t make your logo too abstract either.

Relying on special effects or color

If a logo requires color or special effects to make it a strong logo, it’s not a strong logo. To get around this, work in black and white first and then add the special effects or color later. This allows you to focus on the shape and concept rather than the special effects. Don’t use drop shadows, embossing, or other layer styles to gloss up logos—a good logo will stand on its own.


Although this logo has gradients and color, if we took away these effects it still has a strong form and concept.

Using raster images

A logo should be designed in a vector graphics program such as Adobe Illustrator to ensure that the final logo can be scaled to any size, enabling the logo to be applied easily to other media. A vector graphic is made up of mathematically precise points, which ensures visual consistency across all mediums and sizes. A raster image (made out of pixels, such as what you would find in Photoshop) can’t be scaled to any size, which means at large sizes, the logo would be unusable. Use a vector graphics program when creating logos.

Settling for a monogram
One of the more common mistakes of the amateur logo designer is trying to create a monogram out of the business’ initials (e.g., Bob’s Hardware would become a logo made out of B & H). Although this sounds like a smart solution at first, it’s rather difficult to build credibility or convey an intended message with just the initials of a company. You can certainly explore this route, but don’t settle on it unless you can create an original, creative, and memorable solution that reflects the business’ goals.

Also, try not to shorten a business name into acronyms until it has been around for a while. HP, FedEx, IBM, and GM never started out as acronyms—they became this way after many years of high-profile exposure.

Using visual clichés

Light bulbs for creativity, speech bubbles for discussion, lightning strikes for electricity, swooshes for dynamism, etc. These ideas are often the first things to pop into one’s head when brainstorming, and for the same reason should be the first ideas discarded. How is your design going to be unique when so many other logos feature the same idea? Stay clear of these visual clichés and come up with an original idea and design.


A pencil on its own would be a visual cliché for any illustrator or designer; however, if you use a cliché in a creative and unique way, then your logo will be much more memorable. Have a look for the hidden J, C, and D in the logo shown here.

Copying, stealing, or borrowing design

It’s sad that this has to be said, but it’s an all-too-common practice these days. A designer sees an idea that he likes, does a quick mirror, color swap, or word change, and then calls the idea his own. Not only is this unethical, illegal, and downright stupid but you’re also going to get caught sooner or later. Do not use stock or clip art either—the point of a logo is to be unique and original.

Getting too much client input

A client is paying you as a professional designer to come up with a relevant design, so you should direct the client to the best possible solution. The best way to do this is to offer your expertise, not by letting them direct the project (entirely). If a client asks for a misinformed change, explain why it may not be such a good idea and offer a better alternative. If they still refuse, try sending your own design decisions as well as their design suggestions. They will often realize that their suggestions may not have been the best; however, you as a designer should also realize that you’re not always right, so try giving the client’s suggestions a go—who knows where it will lead.

Providing too many concepts

Loosely linked to the above point is providing the client with too many options. This again means the client will have too much say over the design direction of the project. If you provide 10 concepts to a client, more often than not they will choose what you consider the worst design. A good rule of thumb is to only send one to three concepts that you personally could see working for their business. Of course, the number of concepts you send can change from project to project, but once you feel confident enough as a designer, these one to three concepts should nail the project on the head every time.

Not cleaning up logo files

Logo files should be one of the cleanest files you ever deliver a client. Node points should be kept to a minimum; curves should be as smooth as possible and without overlap. Shapes should be combined, and if your logo is symmetrical, it should be perfectly symmetrical. Everything about the delivered file should be perfect and as minimal as possible. Imagine if the client needs to blow up the logo to put on the side of a truck. If the logo has any mistakes, these will now be clearly visible. Make it perfect.


Take note of the wave hidden in this logo design. As an example of cleaning up files, this wave would have to be knocked out of the letters “W” and “A” rather than simply having a white wave shape sitting on top of the letterforms.

Not delivering correct files to client

Delivering the right files to your client is one way to ensure that your client never comes back asking for revisions or different versions of a logo. It also ensures that the logo gets displayed correctly in all circumstances, which should be supported by a style guide.

You should give your client four high-quality files per logo variation—this means providing a spot-color file, a pure CMYK (no spot colors), a pure black file, and a pure white (knockout) file. These should generally be in EPS, TIFF, and JPEG formats. You can provide a favicon too, if you’re feeling nice.

Hopefully, these ideas will help you build better logos and deliver happier clients. It’s important, however, to state that although lists such as this are a good starting point, they should not hold you back—rules are made to be broken.

Posted via email from Steve Prud'Homme Graphic Design Blog

Graphic Design : NULL Free Font

NULL Free Font

Description: Null free font is applicable for any type of graphic design – web, print, motion graphics etc and perfect for t-shirts and other items like posters, logos.

Languages: Afrikaans, Alsatian, Basque, Bislama, Breton, Catalan, Chamorro, Danish, Dutch, English, Faroese, Finnish, Flemish, Franco-Provencal, French, Frisian, Friulian, Galician, German, Greenlandic, Icelandic, Indonesian, Irish, Italian, Ladin, Latin, Luxembourgish, Malay, Manx Gaelic, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Portuguese, Rhaeto-Romance, Romansh, Sami (Inari), Sami (Lule), Sami (Northern), Sami (Skolt), Sami (Southern), Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Walloon, Welsh

Format: Opentype (.otf) Compatible: PC & Mac Details: 162 Character Set, Manual Kerning, Tracking / Pairs Price: Free

NULL Free Font | Fontfabric

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Graphic Design : Design Museum’s Young Designers Kit by Build


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This is rather cool. Continuing their collaboration with London’s Design Museum, Studio Build created this Young Designers Kit. A must have for young (and not so young) designers.

See all the items in this kit here.

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Graphic Design : Gastrotypographicalassemblage

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Gastrotypographicalassemblage from christian carlsson on Vimeo.

de Graphic Design and Typography - Swiss Legacy

“There are few pieces that represent the typographic and design spirit that illuminated that moment of history, and certainly none on a scale as ambitious.” Milton Glaser.

Kemistry Gallery is celebrating the work of legendary designer Lou Dorfsman, art director for the CBS network.

The exhibition centres on his most notable creation, the 11 metre wide handmade wooden typographic wall that he named Gastrotypographicalassemblage. With custom type created by Herb Lubalin and Tom Carnase, the wall contains almost 1500 individual characters.

For more info:
kemistrygallery.co.uk/

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Graphic Design: Know your type: Baskerville


‘Typography’ in 60pt Fry’s Baskerville ready for printing on a Stanhope press (Photo: fizzkitten, Flickr)

Designed by a perfectionist and self-taught printer, Baskerville is the eighth font to be explored in our ‘Know your type’ series.

Baskerville, designed in 1754, is most known for its crisp edges, high contrast and generous proportions. The typeface was heavily influenced by the processes of the Birmingham-bred John Baskerville, a master type-founder and printer, who owed much of his career to his beginnings. As a servant in a clergyman’s house, it was his employer that discovered his penmanship talents and sent him to learn writing. Baskerville was illiterate but became very interested in calligraphy, and practised handwriting and inscription that was later echoed in strokes and embellishments in his printed typeface.

John Baskerville (Source: Birmingham Museum); Virgil Aeneid with expansive margins and fine alignment, 1757 (Source: Typefaces for Books)

Baskerville type specimen (Source: ilovetypography.com); Close-up of letterforms in Baskerville’s preface to Milton, 1758 (Source: Typefaces for Books)

Baskerville is categorized as a transitional typeface in-between classical typefaces and the high contrast modern faces. At the time that John Baskerville decided to switch from owning a japanning business to a type foundry, Phillipe Grandjean’s exclusive Romain du Roi for Louis XIV had circulated and been copied in Europe. The mathematically-drawn characters felt cold, and prompted Baskerville to create a softer typeface with rounded bracketed serifs and a vertical axis.

Having been an early admirer of the beauty of letters, I became insensibly desirous of contributing to the perfection of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true proportion.

—John Baskerville, preface to Milton, 1758 (Anatomy of a Typeface)

Image

Hand-carving Baskerville on a headstone for John Baskerville by Gabriel Hummerston (Source: cmykern.com)

Achieving crisp perfection

It is difficult to appreciate the qualities of Baskerville without first understanding the process of its creation. Baskerville grew out of an ongoing experimentation with printing technology. John Baskerville developed his own method of working, resulting in beautifully bright woven paper and darker inks. He created an intense black ink color through the tedious process of boiling fine linseed oil to a certain thickness, dissolving rosin, allowing months for it to subside and finally grinding it before use. As printers would not willingly reveal the methods within their print shops, Baskerville followed other printers closely and made the same purchases as them in hopes of setting up the same press. This routine resulted in the development of higher standards for presses altogether.

Folio Bible patented by the Cambridge University Press in 1763, Baskerville brought his own press to the university to complete his printing (Source: Typefaces for Books)

Folio Bible patented by the Cambridge University Press in 1763, Baskerville brought his own press to the university to complete his printing (Source: Typefaces for Books)

Existing printing presses did not capture the subtleties of his type, so Baskerville redesigned the press replacing the wooden platen with a brass one in order to allow the planes to meet more evenly. The wooden platens were usually covered with thick tympanum which helped to absorb pressure and reduce type depth, however, Baskerville’s press used thin tympanum around the metal and the platens were even heated before using them. It was the combination of the contrasting cut in his letterforms, the process of printing, the gloss of his paper and the intensity of his inks that made each print so refined.

Influence in Britain and beyond

While it found little success during the lifetime of John Baskerville, the typeface made a huge influence in Europe after the printer’s widow sold the Baskerville punches and matrixes to France, where it circulated among foundries.

Isaac Moore from Bristol’s Fry Foundry created its own Baskerville in 1766, along with Bell and Scotch Roman which all reflected the sharpness of the Baskerville roman. Admiration for the English typeface in France and Italy spread, and Baskerville’s high contrast letterforms evolved into an emergence of modern faces such as Didot and Bodoni.

American typographer, Bruce Rogers, discovered a Baskerville type specimen in a Cambridge bookstore in 1917, and once he became printing adviser to Harvard University Press, he recommended that the type be casted from the original Baskerville matrixes, causing a revival to the typeface in the 20th century.

Type specimen for Fry’s Baskerville (left) and Zuzana Licko’s Mrs. Eaves (right)

In 1996, Zuzana Licko designed a contemporary Baskerville revival, Mrs. Eaves, which was named after the printer’s mistress. To recreate the same open and light feeling that Baskerville had, Licko used a small x-height in relation to the cap-height and high contrast within the strokes. Baskerville was popular for its calligraphy influence and swashes, and Licko incorporated a lot of ligatures into Mrs. Eaves to mimic this style. In an interview in 2002, Licko expressed that the revival of classical typefaces such as Baskerville required scrutiny that later influenced her ideas for letterforms in fonts such as Tarzana and Solex.

Baskerville is an elegant book face, and as proven by John Baskerville’s own treatment, it can excel in purely typographic compositions. Today it remains one of the most popular and classic typefaces for print, for its legibility and refined beauty.

Usage

Baskerville in use: The Metropolitan Opera logo by Pentagram, poster by Bradley Hoston, Kate Spade New York logo, Better Homes and Gardens magazine, Canada wordmark, Baskerville ampersand from The Ampersand letterpress poster, Baskerville Type greeting card, American Gangster 2007 film poster, Baskerville on iPhone

Baskerville in use: The Metropolitan Opera logo by Pentagram, poster by Bradley Hoston, Kate Spade New York logo, Better Homes and Gardens magazine, Canada wordmark, Baskerville ampersand from The Ampersand letterpress poster, Baskerville Type greeting card, American Gangster 2007 film poster, Baskerville on iPhone


Cheryl Yau is a graphic designer with working experience in Hong Kong and Toronto. She is currently a graduate student in Design Criticism at the School of Visual Arts in New York. Visit cherylyau.com and her blog for more work.


Also see:

Posted via email from Steve Prud'Homme Graphic Design Blog

The first 360º video on Youtube


It's the music video for Professor Green's track Coming To Get Me, it's been shot using special 360 degree interactive technology and it's brought to you by Doritos and their 'authentic late night flavours'.

Posted via email from Steve Prud'Homme Graphic Design Blog

Prepress : PrintProof app

PrintProof app

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Take the headache out of preparing artwork

Perfect for students and junior designers. PrintProof reminds you of the things you need to check, avoiding expensive print errors. Save a profile for each job, tick off each checked item. Auto saves to profile when you exit app.

Available now for £1.19

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Graphic Design : Happy Typographic Families Game


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This game is an opportunity to familiarise yourself with, to learn or to better understand the typography and the specificity of characters based on the classification Vox-Atyp1, established by Maximilien Vox in 1962. A look at more contemporary work completes the series.

Happy “typographic” families: 9 families of which 2 large families + 1 superfamily
74 cards: 5,8 x 9,3 cm
In a plexiglas box

Français / English
Available Novembre 2010

Pre-order over at Editions 205

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Prépresse : Vidéo sur la sérigraphie

Un constructeur d’activités

de Henri Boudreault http://didapro.wordpress.com/2010/11/01/un-constructeur-dactivites/

Construire des activités est une tâche qui peut devenir complexe assez rapidement. Pour aider les formateurs, j’ai conçu un instrument pour associer l’objet d’une activité à un verbe d’action et à une intention d’accompagnement.

Une activité demande à l’apprenant de réaliser une action en rapport avec un objet à apprendre. Les objets à apprendre sont de différents ordres et ont différentes fonctions dans la tâche professionnelle d’une personne. J’ai fait la liste de ces différents objets utiles à l’activité professionnelle :

• Processus de travail
• Instructions
• Gestes
• Procédure intellectuelle
• Opérations
• Procédure technique
• Tâche
• Problème
• Données
• Concepts

Il est possible d’associer à ces différents objets à apprendre les actions qui devront la mettre en oeuvre. C’est la deuxième composante de mon constructeur. J’ai choisi un certain nombre de verbes génériques qui aide à identifier le genre d’activité selon l’objet à faire apprendre.

Cette liste de verbes n’est pas exhaustive. Les verbes ont été choisis selon leur niveau taxonomique et peuvent s’appliquer à l’ensemble des fonctions de travail. Choisir le verbe à attacher à un objet à apprendre est une étape importante dans l’organisation des apprentissages, car il déterminera l’importance des apprentissages à réaliser. La logique des actions est associée à la logique des objets à faire apprendre. Il faut que l’apprenant apprenne les concepts pour pouvoir comprendre la tâche à réaliser. Il devra également comprendre le problème pour être en mesure de faire les liens avec la tâche à réaliser. Les procédures et instructions sont au service de la tâche à réaliser et du problème à résoudre, etc.

L’utilisation de l’objet à faire apprendre et de l’action à faire réaliser est directement liée à l’intention de l’enseignant, ici appelé accompagnateur. Ces intentions sont de deux ordres. Soit qu’il désire faire réaliser une action avec l’objet où qu’il désire rétroagir sur une action avec l’objet.

Vous pouvez avoir une idée du fonctionnement de cet aide à la tâche à partie du petit vidéo présenté au début de cet article. À défaut d’être un outil fonctionnel pour un enseignant dans l’action, il demeure un outil de réflexion intéressant, il me semble, pour comprendre la complexité du travail pour construire des activités en classe ou en atelier qui sont cohérentes avec les objets d’apprentissages à faire apprendre.

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Constructeur

Cette vidéo a besoin du lecteur Adobe Flash pour être visionné.

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