The Best Thermal Baths on The Costa Brava

The Costa Brava which means ”Wild Coast” or “Rough Coast” is a coastal region of Catalonia in north-eastern Spain. Costa Brava stretches from the town of Blanes (which is 60 km northeast of Barcelona) to the French border. There are three counties in Costa Brava- Alt Empordà, Baix Empordà and Selva. All of them are a part of the province of Girona.To reach Costa Brava, you need to take a flight to the Girona airport. Alternatively you may reach the Barcelona airport in Spain which is 92 KMs away from Costa Brava, and then travel by road. Pinar Del Mar, Planamar, Park Hotel San Jorge & Spa, Hostal Alba and many other comfortable hotels are available on this land to pamper you. After checking in to your designated hotel, you may think about taking a thermal bath to relax your tired muscles.Before choosing the best thermal bath center for you, let’s have a look at the available options:-


From the times when the Roman Empire ruled this region, the people of the Costa Brava have been exploring the region’s many medicinal mineral waters and hot baths. It is believed that this water possess relaxing and healing qualities. In the modern times, these thermal baths of the area offer the visitors some of the best facilities. The therapeutic effects of taking a bath in these thermal baths are manifold.1) Balneari Termes Orion- Hotel Balneari Termes Orion offers maximum relaxation through the thermal bath in their facility. They have recently refurbished their luxurious spa to ensure that their clients receive the maximum benefits of these treatments.At 45 degrees Celsius, the water which emerges from the spring is ideal for treatments of aches and pains. There are several kinds if treatments offered in this luxurious natural spring. This bath is surrounded by natural mountains, woodlands and meadows to ensure that the patient receives the maximum benefit from the treatment.2) Balneari Vichy Catalan- This spa contains the purest Vichy Catalan water. The trained masseurs and therapists here provide the customers with a lot of services like chiromassage, inhalations, massage shower, foot-reflexology, paraffin baths, parafango, steam bath and sauna bath. There is a swimming pool which contains the same medicinal water which can be used by the customers for their treatments.Balneari Vichy Catalan Spa will allow you to completely unwind and become ache and pain-free before you leave the place.3) Peralada Spa- This place uses a unique methodology of treatment. They use the wine extracts to help improve their customer’s health and wellbeing. The free radicals present in the wine extracts help in the production of collagen fibres and elastin and it in turn helps in the formation of red blood cells in the blood. The blood circulation is improved, and the body’s immunity increases manifolds.


This luxury spa is located on the bank of a lake in Peralada, Girona. The crystal clear water of the lake is natural and possesses therapeutic properties. There is a steam room to relax your tired muscles and a Jacuzzi to bring you back to life. There are other treatments like heated marble treatment and a barrel shower. A sauna bath will help you to remove the toxins from your body and a thermal circuit around its swimming pools can be used for different kinds of treatments. There is an exclusive “Gran Claustro” meant for the most prestigious clients of the spa.Apart from Costa Brava, the nearby town of La Garriga also has many natural springs and spas for therapeutic purposes. So go ahead and explore. You will definitely have a very relaxing vacation.

BIM Process Risks for MEP Design Service and How to Mitigate Them

Global construction practice has seen substantial changes over recent years, with the arrival of BIM being a key factor. Building Information Modelling, known as BIM, is a process that involves the creation of 3D models, which enables designers and engineers to create accurate construction scheduling, estimate costs and adapt intelligently to design changes. Accurate building information models and precise building designs are created from the outset, which benefits all stakeholders in the construction process, particularly MEP (mechanical, electrical and plumbing) designers. MEP (M&E) designers or engineers design MEP services, while MEP contractors are then responsible for spatial coordination, detailed design, fabrication and installation. Though BIM drives an effective process for MEP (M&E) design services, there are some risks involved. We look at how these risks can be mitigated.

Firstly, it is useful to understand exactly what the BIM process contributes to MEP engineering design. A BIM model helps visualise spatial MEP requirements. Detailed views are created for analysis, and any clashes of spatial requirements are identified and can be resolved at an early stage. Designs can be altered to mitigate any clashes, and these changes can be seen in the model.

The progress of the MEP design and coordination workflow process has been supported and driven by technological advancements. BIM technology has played an important role in making this possible, especially the use of 3D models through Autodesk’s BIM 360 tool. BIM 360 is a cloud-based software platform developed primarily for construction, which employs checklists, equipment tracking and the monitoring of tasks to improve quality and on-site safety. Within BIM 360, models can be utilised for 2D construction documentation and the 3D coordination of trades. BIM 360 permits the control of processes by project managers, subcontractors, designers and architects at all design stages. It enables the sharing of vast amounts of information between stakeholders and easy communication.

MEP designers can utilise architectural, structural and trade models to plan in detail from the onset of a project by designing in 3D. In general, the process involves MEP design and installation workflows that will streamline planning, designing, coordination, fabrication, installation and construction of a project. Following architectural design, the MEP design engineer develops building services design elements, such as lighting, cooling, heating, drainage, waste, fire prevention and protection services. In most cases, the design engineer is not involved with the detailed spatial design of building services. Usually, it is the MEP, or trade, contractor who carries out the detailed spatial design and installation. It falls to the MEP contractor to convert the consultant’s design into an installation-ready MEP format and provide MEP shop drawing services. At times, fabricators creating ductwork or pipework elements, electrical ladders or sprinklers in a module also contribute.

The BIM process brings all stakeholders on to the same platform at every design stage.

Therefore, an effective collaboration tool would be required to:

  • Enable access to MEP designers, architects, structural designers, MEP contractors
  • Host various formats for files and documents
  • Ease communication
  • Permit designers and shareholders to work on the same models and share design data

BIM 360 Team with Collaboration for Revit (C4R) offers this. It integrates stakeholders and project information into a single cloud-based platform and improves quality while reducing rework. Checklists can monitor safety on site, equipment can be tracked and asset data can be collated. Any problems can be resolved early in the design process, minimising delay, cost and rework.

BIM Process Risks for MEP

Communication

If architects, modellers and designers do not communicate properly, designs may not be properly integrated and the occurrence of errors in the MEP model will increase.

Building Code Understanding

Client needs and local code requirements are of paramount importance and must be clearly understood. If misunderstandings of building codes and client requirements occur the MEP design will be negatively impacted.

Coordination

Stakeholders must coordinate effectively. Any modification executed by any MEP service should be communicated to all other trades. Failure to do so can create hazards at the project implementation stage.

Cost Estimation

The BIM process can help determine overall costs and take off quantities. MEP resources, labour and prices are considered, but materials availability and costs may vary over the duration of the design and implementation, affecting cost estimation.

Technical Knowhow

Effective BIM usage requires in-depth knowledge of BIM technology and Revit, Navisworks, etc. to develop precise MEP designs. Errors could prove costly.

Incomplete BIM Use

In common practice, BIM is used for a specific MEP objective rather than for each and every part of the design process. These include:

  • Remodelling or renovation
  • Material takeoffs and estimation
  • Design models by contractors
  • Detailed models of MEP components

Unless the BIM scope and output are accurately defined, the intended use of the BIM model may not occur.

BIM Model Not Shared with Construction Team

When 2D documents are printed from the model, some of the 3D data may not be transferred. The construction team may need to design a new 3D model, leading to unexpected changes. Designers may not share models with contractors because they are incomplete or do not tally with the construction documents, creating errors and tensions.

Not Possible to Model Everything

Creating models is time consuming. Many details, such as size, shape, location, quantity, and orientation with detailing, fabrication, assembly and installation information, can be included. It may not be possible to create models for every portion of the design, resulting in an incomplete overall picture.

MEP Design Handoff

Contractors traditionally received 2D line diagrams, schedules and specifications of the design from MEP designers. Currently, an increasing number of MEP design engineers create models, raising confusion about who is responsible for duct placement, equipment placement and coordination responsibility – designers or contractors. Models created by MEP designers may not be spatially accurate enough during the early stages.

However, there are several ways to mitigate these shortfalls, such as:

  • Early BIM Adoption (During Design Stage)

All project stakeholders should be encouraged to use BIM from the design stage, with clear guidelines for its use. If BIM is adopted at a later stage without clear specification of its purpose, the results could be confusion, wastage of time and increasing costs.

  • Defined Roles within the BIM Process

Design and modelling roles must be clearly defined before beginning design. If MEP subcontractors need to provide MEP BIM, with accurate routing, attachment details and equipment connections, they must be clearly informed of this and it should be part of the contractual obligations. They will not be able to rely on MEP consultant models in such a case.

  • Improved Coordination Skills

MEP design in BIM currently utilises improved spatial coordination skills during the design phase. This could be a result of employing more technically qualified professionals for these services, and as a consequence, contractors are presented with more accurate models to work with.

  • Accountability for Coordination

Internal coordination is necessary for a viable BIM model, much like a 2D drawing set used to be. Revisions, modifications and file versions must be coordinated as well. Since 3D models are complex, coordination must be monitored and controlled to prevent expensive and unnecessary rework. Even though files can be hosted in the cloud, it is advisable to maintain backups.

It is a certainty that precise, effective design with fewer errors is possible using BIM but there may be challenges in achieving those designs. Specifying the role of BIM, its usage, the stakeholders involved and the challenges to be expected can help optimise the benefits of using BIM and minimise its risks. The positive impact of building information modelling will be felt for some time. Analysing and mitigating the risks involved in its use can only benefit the industry and its players.

The Ultimate eCommerce Web Designers Trick

Either you’ll be able to go with freelance web designers or can hire total service web designers to get your internet presence, also called website. The very first reason to have your website is your engagement with the internet. There are lots of web designers out there. So when you’re looking to locate a fantastic web designer, the very first thing you’ve got to check is designing services that are quality oriented. Most reputable web designers know not to pick an internet host simply because they’re definitely the most popular or since they supply the cheapest web hosting.

The site designer may get the job done freely or even as a member of a company which is particularly into designing proficient stores. For instance, if you want non-profit website then non-profit website designers are the ideal choice for you. Moreover, flash designs might also be incorporated within the site to make it even more alluring to the clients. Designing an eCommerce website is an extremely professional undertaking. In case the website design of your site cannot pull and convert visitors, then it means your site needs improvement.

Being an owner of a company, you should select an eCommerce web designer that could comprehend the tasks of designing an eCommerce shop. A great designer is going to know that design and SEO go hand-in-hand. They are being snatched by agencies and large projects. They are creative people that need to think out of the box. A superb web designer ought to be in a position to comprehend the emerging trends in the market, the expected changes in web design, current and future trends as well as the most recent web development tools.

Your website design provider should use the ability of Social Media Marketing. Any expert web design company would help the consumers in many respects. An excellent web design company will have great search engine optimisation skills to publicize your website. It’s always preferable to opt for a great web design company that comprises of dedicated and seasoned employees.

So as to create a web site or an internet presence, one wants to employ a website design company. Also, make certain that the website design company ought to have a group of experienced web designers, developers, programmers and testers etc so that you are able to secure all kinds of services under one roof. A seasoned web design company is going to have a good portfolio of internet sites that they’ve created for different customers. New web design businesses are springing up all of the moment, but don’t be tricked by shiny sites loudly proclaiming their amazing services.

The Advantages of eCommerce Web Designers

The Web lets us market our services and products any place in the Earth, but to be able to actually earn a sale, we have to set a relationship that generates a sufficient amount of trust, confidence, loyalty and passion. Environmentally-friendly web hosting is getting more and more popular for business web sites appearing to implement an eco-policy. To rival a number of the biggest bands on the planet, websites have allowed bands the capacity to grow massive online fan bases through pay per view. The site ought to be downloaded as fast as possible. For example, the site of a company making and selling luxury goods needs to seem luxurious also.

If all the sites look alike there’s hardly any chance of the visitor remembering a specific website. Your website ought to have the ideal architecture with easy navigational keys. To acquire the excellent traffic at the site, it is necessary to create the website attractive. First and foremost you must seek out the video sites that will supply you the resources to make your own video. It is due to the fact that the site has to be unique. An eCommerce website is as fantastic as a digital store. eCommerce websites are designed in order to do the business needs.

A specialist site designer if technically sound enough may give a wholly different get until the site. A web site is your internet address which aids you reach customers in every corner of earth, no matter which corner you’re sitting in. In different cases you may employ your website for a lead generation tool where you don’t conduct financial transactions online. Yeah it’s true, your website is online but still you want to give a fantastic customer service online. There are several kinds of websites like eCommerce sites, social media sites, template-based sites, CSS websites and several more.

The Basics of eCommerce Web Designers

Our site brings you different types of explanatory videos to select from. Therefore, in case it’s not possible for the website to be made fully compatible with all browsers due to coding limitations, then the developer needs to understand the numerous types and versions of internet browsers employed by the majority of the website visitors. Creating your web site may be a tricky practice. Building an internet site is a very technical procedure, while designing an internet site is a very creative procedure. The internet site and social networking pages should complement one-another.

 

The State Of Graphic Design In Jordan

Jordan’s unique geographical position results in its experts choosing self development, which includes graphic design. Experts are also involved with developments taking place in neighbouring countries and the internet was extremely useful in putting interested parties in these two fields in touch with each other and sharing possible development tools. The development of Graphic Design is also assisted by annual exhibitions and specialised conferences held both in Jordan and outside the Arab world.

The academic and professional specialists for the basis in developing graphic design through the formation of local learning institutions. In these institutions academics, programmers and graphic design teachers can meet with professional designers and discuss the way business is moving forward and requirements of the labour market.

Practical training is considered the foundation of Graphic Design, upon which the academic skill of the student and his creativity are built. Working in a design office is considered to be the most important and effective tool in measuring the level of academic learning. It also gives an indication of the effectiveness of teachers in producing a generation of students capable of dealing with the academic ethos and engaging with the requirements of the profession. This training provides the students with opportunities to polish and develop their skills by working along side established practitioners. Today’s graphic design tools rely on information technology for producing visualisations of scientific developments. This visualisation requires an understanding of the scientific theory and the visualisation tools available, which in turn relies on the expertise of graphic designers.

In this paper I will focus on the profession of graphic design and its development by discussing its early development. I will review the positive and negative aspects of that development and how they related to changes in the market and the size of the market and labour force. I will also discuss the academic concepts, and the requirement for graduate graphic designers.

In this paper I draw from my experience of working in Jordan since 1987 at the MIDAS Establishment and my roles in student training at Yarmouk University and the Applied Sciences University, which I had been attached to since 1999. This paper addresses many questions and aims to explore the mechanics of enhancing graphic design in the academic and professional sectors.

The historic and technical initial stages of graphic design in Jordan

Graphic design developed alongside the printing and information technology industries. Printing was brought to Jordan in the 1940s by people who had learnt the trade in other countries. Jordan’s printing evolution was similar to that of other countries. Printing started using wooden moulds, then zinc clichés and letterpress, as well as other printing tools, symbols and shapes. It was the printing technology that restricted the scope for producing new designs. The range of items printed was limited to newspapers, cards and stationary. Printing started mainly in black and white, and was then developed to make photo made clichés through which the printers were able to print in full colour. Typolography, or raised printing was the main method and is still used today. Offset printing enhanced the quality of production, providing improvements in colour and picture reproduction. Around the same time the role of the graphic designer was developed, involving the preparation of makettes and then film montage and plates to be ready for printing (prepress); this relied on the professionalism of the film montage technician for the preparation of backgrounds for the pictures and words. Prepress was considered the most important process in the production of the final printed article. This process was carried out at the prepress service centre which was limited to a single institution until 1987. This centre had the capability and technology to perform a range of techniques where an artistic touch was required.

In the late sixties, design pioneers were not graphic designers, but had learnt the technologies of collage and calligraphy. They were able to imitate designs from abroad and in some instances reproduced them. Their work initially ranged from greetings cards, business cards, social stationary, letterheads and envelopes, then progressed to brochures and folders. The work was mainly limited to newspaper advertising which relied predominantly on the offset printing method. We shouldn’t forget the air brush technology that provided designers with the use of graded colours, achieving three dimensional effects for some designs, although the number of people using this was limited.

From 1980-87 design was performed by specialists in Plastic Arts and Architecture, as well as the first graduates of the college of arts at Yarmuok University and similar institutions. By the end of the eighties, the computer Linotype was used as a publishing tool by newspapers to prepare text for layout and paste it on the required pages next to advertising. Some publishing houses have graphic design offices which also acquired these systems to ensure the production of books and magazines to a similar quality. Linotype was also used to prepare the design of brochures and advertising materials that cannot be hand drawn. With time Linotype was also used for the preparation of other material by this method, including greeting cards, posters and advertisements.

The design and printing sectors found the computer to be an effective way of improving productivity. In 1988 with the arrival of the first design computer by Apple Macintosh, the numbers of workers in the field increased and performance progressed in the pre-printing stages such as film making and separation. However, the expense of computers meant that there use was still limited. The production of personal computers by competitors of Apple Macintosh as well as the ease with which film can be processed through its programs, created a huge increase in the number of professionals interested in graphic design. This became evident by the growth in the number of agencies, design offices, publishing houses and service centres.

Personal computers affected the technical and artistic aspects of production. Some production centres were able to develop their skill base and by recruiting experienced designers and developing them by organising training courses. These highly trained individuals achieved high standards of work within and outside Jordan and were able to compete with others in the Arab regions and captured a share of these markets, producing many publications. Jordanian specialists became serious competitors against other Arab countries which had previously monopolised the fields of design and printing. Jordan has developed so that it can meet the demand for design and printing within the country. Jordan has become a magnet for many publishing houses in the Arab region. Many production and publishing organisations were able to catch up to the levels of the latest technology. There is plenty of evidence to suggest that they will develop further, using modern production tools, and this will ensure there are enough local specialists who can continue to produce work of the highest quality.

The pace of technological development made it necessary for the academic institutions to provide the Jordanian market with the skilled workers who can work to the high standards required. These institutions have to continually adapt to the advancing technology as well as support the academics in their quest to enhance the artistic, scientific and technological aspects of production and publishing. Relationships must also be strengthened by co-operation between business leaders and academic institutions in order to provide the mutual benefit of improve standards, with the ultimate aim of keeping up with both local and international developments.

The easiest way to judge the standard of design and printing in a country is through the newspapers, magazines and books published. Television also provides a showcase for visual communication through locally produced advertisements. The speed of printing development has made impositions on graphic design and the designers themselves. Designers have to continuously update their training to keep abreast of new technology. This enables them to be at the forefront of improving quality and creativity in all aspects of production.

The advantages and disadvantages of sectors allied with graphic design

When discussing the organisations involved in design and production in Jordan it is easy to become overwhelmed by the variety and abundance of them. These organisations saturate the market. One of the reasons for the number of organisations is the variety of production formats, each of which has its own structure. Computerisation has lead to many operators being made unemployed.

Production sources can be divided into;

- Design

- Commercial printing

- Publishing houses

- Pre-press services centres

- Computer software training centres

These are the organisations where people often look for graphic designers, although most of them do not have academically trained staff who specialise in graphic design. Many of the people who own these organisations have chosen to specialise. Some of them specialised because the profession does not require a large capital outlay, others specialised because they had a knowledge of the tools used. Most appear to have specialised because this provides them with status in their community.

Although there are many organisations working in graphic design, the workers and owners in these establishments often lack awareness of the professional graphic design concepts as they have not studied the subject in depth. Employment opportunities for graduates only began to develop after 2000 when some organisations recognised the need for such skilled workers and academic institutions were able to produce professionals of this standard. The impression of graphic design graduates has changed so companies are no longer choosing graduates who studied abroad. Design establishments have noticed the high quality of products which trained graduates can produce with their competence and skills, and their ability to use the full range of design and printing equipment. Without this properly structured training program, experience had been gained through hap-hazard on the job training.

One of the weaknesses of those producing the designs is that they are not always confident about how to use the latest techniques. They often ask advice and prefer to work within their comfort zones, failing to produce designs that would demand a great deal of time, effort or care. Graduates are much more comfortable with change and willing to develop new skills. There are a few professionals, however, who have been invaluable in the development of graphic design by training others and developing their own technical and professional skills. These people have also monitored the pace of development in the fields of printing and graphic design.

Many of the professionals have established themselves thorough the high quality of the work they produce. This is not possible without a capable, aware and educated body of co-workers, who have scientific knowledge and are creative rather than imitating the work of others.

The increasing gap between academic designers and employers, or art directors and creative managers is often due to misunderstanding the role of graphic designers. In industry, the priority of some designers or agency owners is profitability regardless of the quality of the results.

The first problem is that some of the art directors or creative managers are not aware of the importance of their position, and often the employer is equally ignorant of this. Job titles are often arbitrary so artistic or creative managers frequently lack experience and expertise.

There is an absence of a common language between academic designers and managers or employers. This often frustrates designers, creating insecurity and hindering creativity. Such an environment can be an attempt to reduce a designers` status and restricts him from engaging in the creative thinking he would have been taught and university.

Adequacy of the professional reality

Graphic designers are distinguished from other fields by being one of the most creative professions; they work with information technology and visual communication. It also involves dealing with the business world, in which credibility and ability are necessary to achieve the creative work. Qualifications and talent are essential for this.

A graphic designer is not only an artist but also a technician who is able to use software and techniques to tackle the project in hand. His approach should go beyond communication with the audience, to effective promotion and display. His aim is to produce clarity and he should be able to do this from the information using the techniques available to him. The aim is to connect the data and in order to do this must understand the development and design of the software that could be used. He has to understand all the innovations and methods of designing texts.

The design sector requires professionals to have the experience to be able to select and classify information, and to create links between related elements. However, this won’t be enough if they can not interpret this and transform it into definite forms. It is also important to understand the vocabularies of with language, sound and music as they are the most important tools of communication. Added to this, the designer must understand how to use the specialised design software to write texts, prepare drawings, animated cartoons and websites. The designer should know about design, timing, transformation, rhythm and visual presentation.

The potential of the design sector should be realised by knowledge of the necessary theories and techniques to improve communication with the audience, enrich the design proposals and understand the reflective aspect of the design process, studies and research.

There is much variation in the qualifications of staff within the design sector. It is important to differentiate between the craftsman and the academic designer. The graphic designer is a complete cultural and intellectual entity that is noted in the sensational theory, linguistic theory, visual eloquence and the cultural history of art, literature, science, technology, industry and humanity. They cannot isolate themselves from developments in theories of communication, information development, and from management and criticism. Moreover to improve the added value of the final product, all methods and tools used in production and publication should be understood. They must understand the stages before the design, and they must understand the printing process and its implications on the design.

The market is crowded with many people working in graphic design. Due to the wide use of graphic design in many fields of work, the widespread use of computers and availability of basic software packages there is a role for people using graphic design without any prior knowledge. The expression of graphic design is still not adequately understood by some employers in industrial and commercial firms and organisations that need graphic design services.

I do not doubt the potential of the vocational sector but this is the reality of graphic design. It must be remembered that well qualified people now occupy high status positions in the Jordanian market, showing its expertise and its ability to demonstrate the highest levels of graphic design.

The size of the market and people working in graphic design

There are now more than five hundred establishments working in graphic design. There are many who would not classify themselves as an agency, centre or office, as they have found their own market niche. Therefore these classifications can not be meaningfully applied in Jordan.

The sector is large compared to the market. The establishment of new graphic design organisations peaked in 1999. Since then, some have declined while others have expanded. Some have stagnated or changed management, while others have merged.

A quick look at the design sector will show that 85% of those working in the field can be classified as;

- Computer science graduates

- Architecture graduates

- Interior design graduates

- Graduates in ‘Computers and the Fine Arts’ from community colleges

- Fine arts graduates (both graphic design specialists and non-specialists)

- Graduates of design courses run by computer centres

- Unemployed people who are interested in computers

University educated graphic design graduates fulfil an important role because;

- Universities produce Graphic Designers with a different outlook to those mentioned above.

- Organisations run by people who understand graphic design will be better able to develop designers skills and adapt to the future

I am concerned for students who study graphic design at university but do not try to improve his rate of innovation and creativity in order to improve. This will affect whether he is employable.

Academically and scientifically talented students will have few problems because good employers need students who are able to form ideas quickly, use appropriate design programs for his ideas and able to produce those. Other organisations are not useful for the academic designer. These are the push-pull level of the graphic design sector which reflects the levels of awareness of the concepts and functions of graphic design.

The market is capable of absorbing all graduates. This is dependent on the development of visual communication methods through graphic design. Such development requires the presence of skilled workers capable of meeting the needs of the market. This places incentives for educational organisations that deal with design to plan to suit the graphic design market.

The academic reality of graphic design

The emergence of academic institutions that specialised in the arts started at the Yarmouk University where the first arts and music department was established in 1980. This became a faculty in 2001, teaching drama, design (industrial, interior and graphic), plastic arts and music. The university awards bachelor degrees. It started in 2001 at the height of the computer revolution within the design sector in Jordan. In1991 teaching graphic design started as an independent specialisation within the Arts Department at the Applied Sciences University. This was followed by the Ahiya Amman University, the Petra University, Philadelphia University, AlZaytouneh University, the University of Jordan, and later the Israh University.

Apart from universities, during the time when graphic design became popular and a profitable profession, community colleges started teaching graphic design. These included the Al-Quds College, Granada College, Middle University College and Princess Alya College.

The work of the universities that award bachelor degrees is similar to colleges that grant two year diplomas, because both produce students with a certificate in graphic design. But in reality where creativity and technical skills are concerned we find differences. The differences are in the course curricula, and include understanding the production process, product identity, knowledge of software and design innovation.

There is confusion between graphic design and graphic art. These differences affect the student, particularly when he enters employment. He is judged by both his creativity and innovation in producing new ideas and his ability to use technology which now involves the computer, the main graphic design tool.

The reason for these differences becomes clear when we look at the number of workers in the market and where they graduated from. During the time that the largest number of graduates were being produced, the highest quality graduates were produced by well-known institutions and these were recruited by the most successful companies.

A distinction has developed between technicians and designers. This is because some academic institutions concentrate on technology and the practical aspects of design software, whilst others developing the ability to use knowledge and know how to connect ideas to the psychological and social context and include qualitative studies of theories and design curricula.

The reasons for this are;

- The absence of specialised academic experts in graphic design and the poor quality of some of the teachers.

- The absence of appropriate study plans for creating graphic designers

- The absence of a system defining the role of universities and colleges in teaching graphic design

- The absence of entry examinations to graphic design courses, unlike courses in the art specialisations

- The absence links to the outside world, other than through books.

- Some universities and colleges do not understand the concept of graphic design in an industrial context.

- The absence of official government support for finding a way to establish a core curriculum for university courses.

I have taught in the art departments of a number of universities and have assessed many graduation projects. These gave me the opportunity to find out about graphic design teaching, the standards of students, and showed the need for appropriate study plans. There is a lack of competitiveness which would improve educational standards and there is an arbitrary use of teaching methods. Objectives can be clear, but often mistake in not using the appropriate teaching methodology leads to them not being achieved.

In order to develop and improve, the graphic design sector needs skilled and competent workers. The workers will not be able to respond to the changes in technology unless they have a formal academic training. In order to achieve this advancement it is essential that graduate students are used as graphic design specialists.

Conclusion

 

There is a requirement in the Jordanian arena for the academic and professional sectors to review their experiences and identify their strengths and weaknesses. This is used by them to set a strategy capable of giving graphic design the respected position it deserves.

There is a requirement for government intervention to provide arena where specialists in graphic design may discuss many of the concepts that help them make company owners and managers aware of how to make the best use of graphic designers.

As well as teaching graphic design, universities and community colleges must support the markets needs for designers and artisans within the new specialisations which need to be introduced in order to reduce unemployment.There is a need for a professional body in graphic design to give support to designers, co-ordinate educational and technical preparation and for making contacts with the outside world. It is important to hold workshops and symposiums that enhance the competence of teaching staff, designers and students; these should be held with assistance from international institutions which are respected in this field.

It is also important to hold national and international competitions to encourage creativity and innovation. This will create a competitive atmosphere in which graphic design can flourish.

Finally, it is important to create a national identity in graphic design, which can cement its position in the international arena.