ABSTRACT
Today's designers and students have “almost unlimited freedom to define the forms, proportions, and widths of characters” (Blokland cit. by Hurka & Békés, 2019). New projects must consider different approaches since they are no longer bound by former technological constraints and have unprecedented access to history and openness to speculative design strategies (Dunne & Raby, 2013). However, despite the benefits of working digitally with computers in the graphic design or visual arts learning environment (Yeoh, 2002), due to the challenges that the global digital economy poses to education (Cezzar, 2020; Dziobczenski et al., 2018), design education is moving towards a heutagogical approach. But there is a general lack of investment in the research-led, design process, as well as hands-on experience of the production of tangible artefacts (Pontis & van der Waarde, 2020).
