Marketing Design Tips and Trends For Success

Posted by Andreas Christodoulou

Description:

With website design impacting 94% of first impressions, one of the main factors impacting if a user will stay on your website or not is your design and its elements.

An ideal website design is simple, functional, and also consistent with the branding of your business. Most good-looking websites use a grid-based layout to make content aligned, they have short load times, are mobile-friendly, and use inviting copy.

Use these website design hacks and trends to make informed decisions for your website in 2021.

Keep Design Clean and Simple

Use minimalistic elements, simple fonts, easy colors, and compelling copy to create a clean website design.

A rising trend in 2021 is comfortable colors. We suggest thinking outside of the box and avoiding the classic black and white. While these can work for certain industries, we suggest using soft color palettes to create a calm and relaxing environment for your visitors.

Use Stunning Visuals

No matter if it’s for your product pages, blog posts, or about us page, always use high-quality images and videos (of course while, at the same time, keeping in mind size limitations).

In 2021, 3D graphics and parallax animation are increasingly popular among web designers and website owners. That will help you stand out from your competitors and keep your users engaged and longer on your website (which also brings benefits in terms of SEO and conversions)

Make Your Web Design Responsive

All the pages on your website need to be responsive and render well on all devices and screen sizes.

To stay updated with the latest industry trends, you can try using vector graphics. These are points on a vector map that web designers use to resize images without losing quality. That ensures your site is responsive without compromising the quality of your visual assets.

Make Your Website Engaging

No matter which industry you’re in, your website shouldn’t be boring. Try to capture the attention of your readers by using elements of interactivity.

In 2021, we’ve seen a rising trend in 360-degree views, as well as micro-interaction elements. These, again, engage users and also keep them on your site longer.

Create a Simple Navigation Experience

The structure of your content should be easy to understand and your website easy to navigate through.

A growing trend in web design is infinite scroll technology, which makes it a seamless experience for users to navigate your website, especially on mobile devices.

As you’ve seen there are some marketing design tips you can take advantage of to create a stunning website.

However, you should adapt your layout to the type of content you share. The design of your website will vary depending on the industry you’re in and the content you share. Because of that, you must find inspiration from some of the best-designed websites on the internet.

Website Design Examples:

1. Avoriaz 1800 – Visite Virtuelle

This website uses animation, 360-degree technology, storytelling, and stunning visual assets to make users feel like they’re part of the experience. Definitely consider creating something like this if you’re in the travel and hospitality industry.

Technologies Used: CSS3, HTML5, Apache

2. Playbook

This cloud storage platform for designers website uses clean design, stunning photography, and an innovative UI experience that captures the user’s attention. The website also uses interactive design elements to create a personalized and engaging experience. Make sure your web design is clean and simple, especially if you’re a technology company targeting designers.

Technologies Used: Ruby, GraphQL, React

3. Animus Studios

This video agency uses animation, videos, and lots of colors to stand out from competitors and also show the company’s capabilities in terms of videos. Try using a similar web design if you’re a creative business agency that wants to make work more fun.

Technologies Used: Craft CMS

4. PUBLIC DOMAIN

This website, founded by Virgil Abloh to show his collections and to tease upcoming product launches, uses big background images, a horizontal menu, and innovative content architecture

Technologies Used: JavaScript, HTML5

5. Globalance World

Globalance World is an investment platform that creates an interactive experience for users to make investment decisions by looking at economic, societal, and environmental factors. To do this, the website designers used interactivity, a fully responsive design, and 3D data visualization.

Technologies Used: next.js, CSS3, Three.js, React, D3, GraphQL

6. UXPERT

This website chose to use elements like animation, clean design, graphic design assets, and an innovative user interface. For example, on the homepage, users can play a showreel to learn everything about the brand.

Technologies Used: WordPress, CSS3, HTML5

7. MAD

MAD is a creative digital design website taking a creative approach to interactivity. The result is an unusual design that surely captures the attention of users, who can play with the logo, move objects, and more. By using experimental and unusual design, transition elements, filters and effects, an innovative user interface, and micro-interactions, this website creates interest and curiosity.

8. Glob

Do you own an eCommerce website? This is the example you’re looking for. Glob sells reusable bags for a plastic-free lifestyle. On their website, they use filters and effects creatively to grab the users’ attention and making web design elements entertaining. For example, users can move their mouse around and interact with designs with a liquify effect.

Technologies Used: WebGL

9. Gucci Beauty Foundation

This website offers a quiz game, shades palettes, and interactive video tutorials to allow users to discover the uses in an entertaining way. Consider creating a subdomain or subfolder of your website, similar to this example, to present a product you offer and create a buzz.

Technologies Used: CSS3, HTML5, React, Anime.js

10. Mario Russo Archive

Using features like responsive design, appealing typography, and storytelling, artist Mario Russo’s archive offers a simple way of showing creative work online. More specifically, typography (font style, appearance, and structure) is an extremely important factor when it comes to improving the user experience.

Technologies Used: CSS3, HTML5, jQuery, Typekit

11. Yusuke Fukunaga

Yusuke Fukunaga’s portfolio uses infinite scroll, parallax, scrolling, and various filters and effects for a simple yet innovative design. Consider experimenting with something similar if you’re a creative professional and want to showcase your portfolio.

Technologies Used: WebGL, GSAP Animation, Three.js

12. IdeaRocket

IdeaRocket is an animation studio making its website popular for its uncommon user experience work presentation. Design features that stand out here include animation, video, scrolling, and great use of storytelling.

Technologies Used: WordPress, CSS3, HTML5. GSAP Animation

13. Omega Funds

Are you in the B2B space? We suggest taking a look at the way this website uses animation features, transition elements, and micro interactions to communicate information in a fun way without distracting users. This is perfect for inspiration especially if you have a corporate website.

Technologies Used: WordPress, CSS3, GSAP Animation, Three.js, Matter.js

14. Low Five Brewing

Single page, uncommon navigation, and responsive design are the features that stand out when users enter this website. Low Five Brewing is one of the best single-page websites on the internet. This technology includes all the content on one page, with no menu at all. As a result, navigation is simple and the website is fast and responsive.

Technologies Used: Vue.js, Nuxt.js

15. Swissdent

Swissdent created a website that uses photography, animated visuals, clean design, minimalistic elements, and parallax technology to tell a story. The minimalistic and clean web design creates a simple and fun shopping experience for visitors.

Technologies Used: WordPress, CSS3, HTML5, GSAP Animation, PHP

16. Goodfight

Using a horizontal menu and layout, responsive design, transition elements, and fun filters and effects, this website creates a more interactive experience for users who want to learn about the brand.

17. Hanwag – 100 Years

Experimental and retro design. This is what users think of when looking at this website. The entire site consists of a single page, which details the history of the Hanwag shoe brand from the first shoemaker’s shop in 1921 to 2021.

18. Vintageria

Definitely, get inspired by this website if you’re looking for a retro web design for your eCommerce store. The website is colorful and uses fun storytelling elements and an innovative user interface to stand out from other clothing brands.

Technologies Used: Node.js, GSAP Animation, PixiJS, Webpack, Vue.js, Nuxt.js

19. Fabulatorij

Take a look at this event agency’s website if you’re planning to use vector graphics for your website design. It uses geometric shapes to create high-quality images that render well on all devices.

Technologies Used: GSAP Animation, VideoJS, Vue.js, Nuxt.js, Netlify

20. BURGER & SAUCE

What elements stand out on this website? Big background images, vector graphics, and responsive design. This restaurants chain focuses on these elements on its website to picture its handmade burgers, with an impressive and memorable user experience.

Technologies Used: WordPress, SVG, Cloudflare

Conclusion:

If you’re launching a new website and blog or are looking to redesign your existing one, it’s important you have original and cohesive design elements.

Having said that, the specific characteristics and technologies you’ll include will change based on your industry and your company’s goals. Follow the infographic below to choose the right web design elements for your website.

Source: WebsiteSetup

STAY INSPIRED: Launching a Small Business (and the Tools You'll Need)

Keep up the good work! 😎👍

*by andreascy*

The Importance Of Having A Professional Dress Code At Your Workplace

Posted by Andreas Christodoulou

Description : 

They say that it is not apt to judge a book by its outer cover. But an eye-catching and tasteful cover will increase the chances of its sale significantly. Taste in clothes and dressing sense varies from one person to another. Some like to keep it subtle, while others like to go bold and bright. A 9 to 5 type office is not a hip place. People are bogged down by work pressure.

There is too much stress in the office environment. That does not mean you have to dress in a depression manner as well. Picking party clothes and office clothes is as different as chalk and cheese. With the right balance, you can make office attires fun and sophisticated at the same time. Some organizations have strict dress codes, while others have a relaxed attitude. An employee must put some thought while stocking his/her wardrobe with professional clothes. 

1. Dress Code According to the Industry

Only suits will make the cut in strictly corporate offices. These offices have a business professional dress code where only trousers, blazers, pencil skirts, solid colored shirts, and ties are allowed. If you work in an office with a business casual dress code, then men can replace formal trousers with chinos. Leather footwear is also allowed. 

As for women, plain but bright tops, embroidered shirts, and a variety of shoes will make the cut. If the office environment is too relaxed, then you can wear anything. That being said; never show up in shorts, bermuda, heavily embellished tops, too revealing outfits and flip-flops

2. Creates a Cohesion in the Workplace

Employees work in groups to attain a common objective. A professional dress code is needed for visual cohesion. It gives a sense of belonging to a group. 

Too dissimilar dressing patterns can produce an awkward vibe in the workspace. Dressing conveys messages, and proper dress codes enable all employees to send a positive message on behalf of the organization. 

Dress to impress

Following correct professional dress code, allows a person to create a positive impression on the interviewer. First impressions are essential. If the professional attire catches the eyes of the authority, your chances of bagging the job will increase. 

If you are already working in an office, you must be well dressed to create a positive impact at any time. You never know when the CEO will drop by for a surprise visit, or if you dump into your ex-flame. Best dressed men and women stand out amongst others.

3. Reflecting the Brand Image

Every employee represents the company. If they don’t create a good impression in the market, then the company’s status drops. 

A proper dress code will prevent this from happening. When every staff member is perfectly dressed, the reputation of the organization rises. 

4. Dress for the Post you Desire 

Juniors and back-office staff can get away with slight alterations in the dress code. If they wish to climb the corporate ladder, then they must dress accordingly. 

If you want to get promoted to a manager, then follow dress codes that will suit the respective role. Your dressing will create an impression on the authority. They will take you as a serious and ambitious candidate. 

Right fabric and size

You are in the office to work. No one will pay you only to look good. If you are not comfortable in your clothes, then you will fail to concentrate on the task. Your productivity, performance, and chances of promotion will dwindle fast. Many offices demand their employees to wear blazers. 

Though these are not an issue during winters, wearing a blazer is quite a challenge during summers. It is here that selection of fabric comes to the forefront. You will get cotton, linen and silk blazers in stores. They are light, comfortable, come in several colors and helps in abiding by office dress code. Light, breathable and soft fabrics are top picks for professional clothing.

If you are lucky to work in an office that has no restrictions on clothing, then you can opt for bright and printed blazers as well. In that case, opting for softer fabrics like silk and linen will be ideal. Team up a deep red T-shirt with black jeans and a grey linen blazer to complete your fun office look. As for shoes, your sneakers will be enough to offer comfort throughout the day. 

Pay attention to accessories

Whether it is a pantsuit or a formal pencil skirt with crisp shirts, wrong selection of accessories can ruin the entire look. Picking the right trinkets is imperative to make a subtle statement and highlight your refined taste. Going ballistics with accessories will not create a positive impression. Chuck statement and beaded neckpieces, say no to dangling earrings, and a definite no to multi-layered charmed bracelets. 

When dressing for work, less is more. A sleek watch is enough to beautify your hands. If you work in an office that allows casual dress code, then you can deck up as a college student with several rings and chunky earrings. Maintaining a balance will always enhance your beauty, without overshadowing any piece.

Select shoes carefully

Even if you don’t need to run around in the office, investing in a pair of good shoes is mandatory. Men must opt for formal office shoes. It is safe to play with colors like black, deep and light brown and tan. These hues complement all attire colors. 

Women can pick between high heels, kitten heels or box heels. Under no circumstance must any employee come to the office in flip-flops. No matter how beautiful the shoe looks, if it is uncomfortable, it should not be purchased. 

5. Casual Office Dress Code

Though professional dress code is somewhat rigid, there are some offices and startups, which have a relaxed take on office wear. Employees can show up in any dress as long as they are not distasteful. 

The main mantra is to be comfortable in the attire. From comfortable jeans to linen shirts, from jumpsuits to T-shirts, you can wear any casual outfit. As for shoes, both flats and heels will be accepted. 

Summing Up

Admist the hype of emerging technologies and startups growing like mushrooms, there has been a shift in the professional dress code around different businesses. Whereas there is an increasing call for more casual attire to dress to work, you should always keep in mind that a truly professional dress style will have to be formal and above all not exaggerate. 

This article highlights the dos and dont's of your work outfit and how you should go about to impress your colleagues and supervisors. It may not be the case at all situations, however it has been found that an employee's outfit to work contributed to his advancement to a higher post. 

Of course ultimately, no matter what the professional dress code you choose or are required to follow, you must keep in mind that the clothes you wear should be also practical and make you feel comfortable where possible as you want to both feel and look good at your work space.

*by andreascy*

7 Fashion Accessories To Lift Up Your Style Quotient

Posted by Andreas Christodoulou

Description : 

Accessories will complete the look that you desire to flaunt. A dress, without matching shoes, neckpieces, and bags, looks like a painting devoid of colors. With the right fashion accessories, you can either dress up or dress down a particular outfit. 

These trinkets will also highlight your taste and help to create a distinct style statement. In case you lack the eye to a new dress with appropriate accessories in your mind, then take the assistance of the experts. 

Watches: Keep Pace With Fashion Trends 

The advent of smartphones has eliminated the need of wearing a watch on your wrist. But how often do you see a man or woman without one? Almost never! Whether it is a casual occasion or a formal event, people love wearing expensive watches. These timepieces are no longer used to keep track of time. Instead, these act as accessories. 

A sleek watch polishes your outfit and your personality at the same time. It shows you are capable of striking a balance between being funny and serious. If you are in a casual and relaxed mood, then ditch the boring black and brown leather straps for brightly printed and patterned straps. Some watches come with interchangeable straps. So, you can sport a new look every day. 

Scarves and Jackets for Extra OOMPH

Power suits, skirts, basic tops or jumpsuits – no matter what you are wearing, a colorful scarf can add life to the attire immediately. Monochromatic or bright scarves, will attract focus to your face, instead of the top. It will add an extra layer. They are a mark of sophistication and charm. If you are not a fan of tying something around your neck, then jackets will save you from fashion disasters. 

For summers, you can depend on linen, cotton or silk jacket, while woolen overalls will keep you safe from the winter chills. Jackets are available in bright as well as subtle hues, to complement the dress underneath. When in doubt, throw a coat over your clothing, and you will look elegant instantly. 

Shoes for Comfort and Class

Shoes offer much more than comfort. Classy shoes are a mark of an elegant individual. People pay attention towards the clothes and accessories. But only a knowledgeable person knows that a true blue aristocrat will own shiny and well-maintained shoes. All your efforts to look like a million dollars will go down the drain if your shoes don’t go with the dress. Flats and platforms shoes offer supreme comfort. Tie-up shoes and Greek sandals look amazing with casual dresses. 

If you want to make a style statement or look rich at a formal event, then it is imperative to ditch the flats and put on high heels. In case, someone is not comfortable walking in high heels; she can opt for smaller box or kitten heels as well. Heels offer an excellent posture to the body and make you look taller instantly. Make sure you have bright colors, blacks, browns and nude colored footwear in your shoe closet. 

Hats for Every Season

If you think that hats were a thing of the past, then you need to take a quick trip to the race course. The rich and famous like to wear hats even today. It highlights their status but also shields them from the harsh rays of the sun. The members of British royal family and aristocrats are never seen without hats on special occasions. 

Covering the head, was a mark of sophistication in early days. Berets are famous among French women, while British ladies opt for elaborate hats. If you want an extra edge, then wearing fedora, boater, cartwheel or floppy hats will do the trick. Boater, cartwheel and floppy hats are available in different colors and patterns and look amazing with jumpsuits, rompers, shorts, skirts and other casual dresses. 

Get Some Bling on With Jewelry

There was never a shortage of trinkets in the market. Precious metals and costly rocks not only enhanced the beauty but also showcased the status of the person. Gold, silver, platinum and white gold are some popular metals, used for making trinkets. If you are looking for affordable options, then German silver and artificial metals will also do the trick. 

There is an unending option for men and women who desire to adorn their bodies with ornaments. Multi-layered neckpieces, chunky statement necklaces, small and big earrings, beaded and charm bracelets, middle eastern headpieces, strings of pearls are some common pieces, which can help in making a smile dress look expensive. In recent fashion events, models have been seen sporting midi and layered finger rings. Cuff bracelets are also in vogue. One can incorporate these to dress up or dress down appropriate attire.

Bags! Bags! And More Bags!

Will you ever leave the house without a bag or purse? Bags are essential accessories, which bring out the beauty of any dress. Not all bags will complete all kinds of attires. A wrong pick can mar the beauty of the outfit. The market has been flooded with various kinds of bags. One can pick tote bags, shoulder bags, sling bags, bucket bags, fanny packs, transparent plastic bags, purses, and clutches. 

Bags made of cotton and jute; with thread work are new additions to the fashion world. They are popularly seen in India and Middle Eastern nations. They suit the traditional outfits as well as solid colored dresses.

Conclusion 

If you have a plain jumpsuit, then these bags can add a dash of color and character to the outfit. Clutches made of silk or metal complement dresses, while tote bags offer a casual look if you want to step out in basic T-shirts, shorts or rompers. Smaller vanity bags will make your getup look elegant. 

*by andreascy*

Infusing Multiliteracies Into Museum Learning Practice for Inclusive Cultural Participation

Posted by Dr Stephania Savva

Description :

One of the most poignant discussions in the museum world, has been on issues of inclusion and access. Prolific museum figures like Nina Simon presenting in the recent Museum Next Conference in London, shared the vision behind OFBYFOR ALL, a new global initiative to help civic and cultural organisations become OF, BY, and FOR their communities. However, what is it that can help take the next step in terms of inclusion and learning within and out of museum grounds? 

This article draws on a doctoral research study to investigate museum’s democratic potential, through transformative approaches to pedagogy aimed at meaningful cultural participation.

The ‘meaningful’, stands for a degree of competence in reading, interpreting and constructing meaning from the existing multiple forms of language (Stapp, 1984: 112; Mitchell, 2007: 3). ‘Participation’ involves an ability to negotiate the complex dialogic relationship that exists between the written word, the spoken word, images, objects, time and space (Mathewson-Mitchell, 2007: 3).

Consideration of issues of access in relation to the significant literacy requirements of museums, suggests that increasing focus on the explicit teaching of museum-based literacies, could be the way through which to expand museum visiting opportunities for the less 'conventional' audience.

It is actually proposed that museum-based literacies could act as the means to the development of cultural competence in museum environments. This evolution in theory and practice of, and about museums, has been notably part of radical changes in the museum world since the 1970s, mostly known as new museology.

Museums as Agents of Change

The development of a “new museology” (Mayrand, 1985: 201), is a concept used to describe the focus on the potential of museums as a positive social force. Golding (2009) suggests the museums should act as frontiers, places where learning and identity are produced and developed for all, while new ‘bridges’ are raised between non-dominant communities and their own histories (Philip, 1992 in Golding 2009).

It became profound that if museums accept their educational role, “they must also accept their social responsibility to work towards supporting a participatory democratic society” (Hein, 2005: 50). We need to “take advantage of the current context, as ‘opening new educational and social possibilities’ (Cope and Kalantzis, 2000: 18), to promote democratic education and human needs...” (Early, 2007: 67).

Changing Times, Changing Literacy 

Ever since the 1960s, the nature of literacy practice and needs is changing; Hall (1989) suggests this is thought of as a consequence of New Times. New Times is an era of internalization, characterised by the breaking down of borders between local and global contexts resulting from rapid change in communicative practices (Gee, 2000: 183; Luke and Elkins, 1998).

One common element that has changed is that literacy has become inherently plural; thus researchers have problematized the very notion of literacy as a discrete set of skills. Luke and Freebody (2000) provide one of the more recent and useful definitions of literacy: 

"Literacy is the flexible and sustainable mastery of a repertoire of practices with the texts of traditional and new communications technologies via spoken, print, and multimedia". 

(Luke and Freebody, 2000: 9)

In such a perspective of literacy, the literate person is one who develops capacity to respond to emerging and communicative needs, a literate person who is a sophisticated user of texts. The individual engages with literacy practices as a decoder of text, as a maker of meanings, as a purposeful user of information and as a text analyst who employs critical thinking skills in the literate work (Luke and Freebody, 2000; Liddicoat, 2007: 20). 

Figure 1: Evolution of the concept of literacy over fifty decades

Although acknowledging contemporary, 21st century demands of ‘literacy’ and education, this definition does not incorporate the social context of literacy. Literacy is, as Gee (1996: 22) has aptly described, “a socially contested term”. To this respect, literacy is a social practice rather than merely a means to an end. 

Such a consideration draws on the paradigm of New Literacy Studies (NLS) and recognises literacy as a set of socially and culturally constituted practices enacted across and within social and institutional spaces. It acknowledges literacy as a social and historical construction that evolves dynamically (Giampapa, 2010: 4; Potvin, 2009; Garcia, Bartlett and Kleifgen, 2006). 

Literacy is seen as a social responsibility including a critical or transformative emphasis in which literacy is a tool to understanding social structure in which we live so we can transform it in meaningful ways (Gee, 1996: 58; Street, 1995). The social perspective of literacy, implies more than superficial contacts with print; it icorporates an understanding of how to manipulate words and concepts through complex daily social interactions in an accepted manner (Giampapa, 2010; Potvin, 2009; Reid, 1998; Kern, 2000) through cultural apprenticeship (Rogoff, 1990).

The ‘New’ in Literacies: Multiliteracies

Following the NLS paradigm, ‘multiliteracies’ have emerged. The term “Multiliteracies” immediately shifts us from the dominant written print text to acknowledge the complexities of practices, modes, technologies and languages with which literate people need to engage in the contemporary world.

The “New London Group” (a team of ten academics including James Gee and Allan Luke) came together in 1996 concerned about how literacy pedagogy might address the rapid change in literacy due to globalisation, technology and increasing cultural and social diversity. They employed the term ‘multiliteracies’ to address these issues (The New London Group, 1996).

Since then, The Ontario Ministry of Education has come up with a number of literacy initiatives, some of which are characterized by a critical and social view of literacy, where literacy is conceived of as "the ability to use language and images in rich and varied forms to read, write, listen, speak, view, represent, and think critically about ideas" (Expert Panel on Literacy Report, 2004: 5).

Figure 2: Multiliteracies and their design elements (Adapted from The New London Group, 2000)

Luke and Luke (2001: 92-94) echo this idea, and argue that new technologies have facilitated the emergence of new kinds of artefacts, such as digital storytelling, requiring new levels of engagement and development of higher and different mental faculties (i.e. new multiliteracies). Luke (2000) also talks about the critical multiliteracies - being able to understand, debate, and act upon the material, political, and social consequences of technological change.

An alternative view of literacy calls for a reconceptualization of literacy as reading and writing the world (Freire, 1970). This conceptualization foregrounds critical thinking in both teachers and students, and looks beyond functional literacy (reading and writing skills), to the knowledge and power relations in literacy discourses.

Agnello (2001) refers to this approach as postmodern literacy, and argues that through this approach “reading and writing become enhanced methods for exploring the democratic self and its formation through ideological exposure to knowledge and power relations formulated by educational policy texts. Through such exploration, literacy becomes a tool for self-, student, and social advocacy rather than commodity to determine whether one measures up satisfactorily on test scores” (Agnello, 2001: 24-25).

Museum Learning as a Multiliteracy Practice

Museum-based literacies or museum literacy, refers to the competence in drawing upon the museum, its space and collections using certain skills and practices. In 1984, Carol B. Stapp observed that “museum literacy” was then a newly emerging phrase that articulated the older idea of a philosophy of museum accessibility.

Museum literacy goes beyond ‘reading’ objects; which may be understood as visual literacy; it requires a deeper level of process and understanding of the multiple and interacting languages and modes of communication found in the museum. 

By broadening the view of museum literacy, it is acknowledged that the language that is involved in the museum is diverse and incorporates multimodal literacies including: linguistic, visual, audio, gestural, spatial patterns, technological and print-based (see for instance, Cope and Kalantzis, 2000: 160,203; Giroux, 1992; Hooper-Greenhill, 1999).

Figure 3: The multimodal literacies in museum-based pedagogy (Savva, 2016)

This view of museum learning redefines the goals and strategies of educators and the museum curricula. The idea of education in museums is seen as exploratory, broad, experiential, complex and multi-layered; museum strategies are now audience driven (Russo et al., 2007, Hein, 1998; Falk and Dierking, 2000).

To this discussion fits the incorporation of museum learning into the multiliteracies concept; this is facilitated by the realization that a display of material culture conveys messages about the people who created them and the times in which they were used (Pearce, 2003). 

The act of creating an exhibit is parallel to the act of producing knowledge. Exhibits are not simply displays, but systems of signs that express messages about culture. Museums and their exhibits reflect the ideology of those who create them.

In the same vein that “There is no such thing as ‘reading’ or ‘writing,’ only reading or writing something . . .” (Gee, 1999: 93), the same would hold true for creating exhibits. There is no such thing as displaying an artifact without displaying something about that artefact. Also, the interpretation of messages is similar to the deciphering of text, using the signs, symbols, objects, etc., of a museum exhibit as part of the process of creating meaning (Roberts, 1997).

Griffin (1999: 8) identifies the unique learning opportunities offered by museums as: opportunities to closely examine objects or specimens; opportunities for comparison that allow trends and patterns to be deciphered; natural learning processes that incorporate the sharing and communication of ideas and the raising of questions; and opportunities to develop perceptual skills that teach how to gather information from objects and experiences. 

Because museum exhibits make meaning through multiple media, multiple modes, and multiple symbol systems, the literacy practice of museum visiting is a multiliteracy. 

An interesting project exploring the latter, is the ‘Museum Literacy Project’ in 2008-2010, involving nine different museums, administrations and training institutions based in five European countries, supported by the EU programme Lifelong Learning - Grundtvig Learning Partnerships, 2008. The project focus was on museums and audiences with low schooling level, and how museum literacy can be reached and maximize the museum experience for these audience.

Dimensions of a Pedagogy of Multiliteracies for Museum Learning - The Research Framework

Taking into consideration the unique characteristics of the museum environment, I undertook an empirically-based doctoral study involving the design, enactment and evaluation of the Living Museum Partnership (LMP), a museum-school partnership that unfolded in 13 weeks for the construction of a student-generated virtual museum to support environmental education curriculum (Savva, 2016). 

Specific focus was on developing virtual learning environments and applying augmented reality to enhance culturally and linguistically diverse students' repertoires of literacy practices. This design-based research, draws from the field of New Literacy Studies, the proposed Museum Multiliteracies Practice (MMP) framework derived from the multiliteracies pedagogy of the New London Group, the Learning by Design Model adapted from Cope and Kalantzis and Schwartz’s museum based pedagogy.

Figure 4: The pedagogies interacting in the Museum Multiliteracies Practice framework (Savva, 2016)

It is proposed that museum educators and learning professionals undertake an approach for teaching and learning in the museum setting which incorporates multiliteracies pedagogy. Identification of museum literacies requires thorough examination into the interaction of modes that are evident, the incorporation of multiliteracies implicated, the various sign systems that are employed, and the unique nature of the museum learning environment (Mathewson-Mitchell, 2007: 7-8).

The focus should be not only on literacies as communication (meaning for others, as supports for social interaction). My doctoral research for instance also emphasized on literacies as a form of representation (or meanings for ourselves, as supports for thinking).

Cope and Kalatzis (1996, refined 2000, 2009) elaborate on the potentials of a ‘Pedagogy of Multiliteracies’ in fulfilling these aspirations. Two important ideas brought in a multiliteracies pedagogy are Learning by Design and Multimodality.

Learning by Design, is building into curriculum the idea that not every learner will bring the same lifeworld experiences and interests to learning, as well as acknowledging that every learner is not on the same page at the same time; pedagogies of learning are re-configured to construct learning as “a dialogue of difference” (Cope and Kalantzis, 2005: 31). The idea of Multimodality discusses learners’ movement between written, oral, visual, audio, tactile, gestural and spatial modes of meaning-making (Cope and Kalantzis 2005, 2009). 

On this basis, the New London Group (1996) has proposed a multiliteracies pedagogy consisting of situated practice, overt instruction, critical framing, and transformed practice.

• Situated practice includes learners’ prior and present experiences in a community of learners (composed of experts and novices). 

• Overt instruction involves the teacher’s or expert’s interventions to scaffold (Bruner, 1983) or support learning and increase the learner’s consciousness about learning. Scaffolding is a metaphorical concept that refers to the visible or audible assistance that a more expert member of a culture can give to an apprentice (Bruner, 1983, 1986). You might also note Vygotsky’s Zone of Proximal Development (ZPD), that relates to Bruner’s notion of the scaffold here. 

• Critical framing refers to learners interpreting the historical, cultural, political and ideological contexts of learning.

• Transformed practice includes implementing new understandings through reflective practice in other contexts.

Figure 5: The Multiliteracies Model and Learning by Design (Adapted from Kalantzis and Cope, 2000)

Also identified within the Learning by Design Model are four knowledge processes (See Figure 5 above). The knowledge processes identified are:

(a) Experiencing the known and the new

(b) Conceptualising by naming concepts and theorising 

(c) Analysing functions and interests 

(d) Applying appropriately and creatively.

Findings and Implications for Museum Learning Practice

Stapp (1984) had argued that schools do not address the knowledge, skills and attitudes for museum literacy. Recent observations of the characteristic use of museums by school-based teachers suggest that a relatively passive, idealist approach to museum experiences, as identified by Stapp, has continued, with teachers lacking confidence and competence in the museum setting (Mathewson-Mitchell, 2006). 

Based on the findings of my doctoral research, it is suggested that addressing museum-based multiliteracies leads to effective museum-school partnerships and meaningful museum learning practice. Research data suggested that students’ repertoires of literacy were enhanced as they engaged in the learning process as active designers and multimodal learners (Savva, 2016). It was found that students gained opportunities to:

Figure 6: Findings of Museum Multiliteracies Practice research (Savva, 2016)

It is proposed that any museum education programme or museum-school partnership or collaboration pays attention to the following key principles:

1. Teaching children, especially digital natives of our time, to be literate in any setting is not just a set of skills that can be transferred. Rather, education needs to enable them to participate in social situations using the required literacy practices.

2. Museum visiting is seen as multiliteracy practice; as such it requires specific museum-based literacies that are rarely identified or explicitly taught by museums or schools.

Conclusion

Ultimately, this brief review and presentation of the proposed empirically based, research framework for museum learning practice, forms a pathway to follow for inclusive cultural participation at any level and age. The London New Group’s (1996) ideas further developed by Cope and Kalatzis (2000; 2005; 2006) for a Pedagogy of Multiliteracies, could inform the development of the specific literacy requirements of museums, in a way that could lead to full museum literacy and a transformative cultural engagement and participation for diverse audiences.