The research presented is based on specific implementation of a strategy for the development of solutions within the scope of Design from the ESART partner within the REINOVA methodology. The purpose of this paper aims to describe the implementation of a Design Diagnosis practice within the scope of an International project under the acronym – REINOVA (Reindustrialization, entrepreneurship, and innovation in traditional productive sectors) was a project conducted by an international consortium composed by Portuguese and Spanish Institutions. Design principles and good practices are also defined to ensure that visual identity continues to function as a cultural interface of the territory in a sustainable logic and not just business requirements. The results are a visual identity of the mountain olive oils brand that acts simultaneously as an interface of representation of the collective, the individual and the region (internal audiences), fulfilling the expectations and needs of the target public and other stakeholders. The methodology used is mixed, including a non-interventionist phase consisting in the study of competing brands, audience map and persona method and an interventionist component through project-grounded design research, which includes participatory methods such as co-design and Design thinking. Identity promotes sustainability and respect for people’s quality of life. The purpose of the article is to study how the brand’s visual identity contributes to the understanding, accessibility and enjoyment of information, adapting the message to different cultures and profiles of people, users or target audiences. Finally, in addition to practicing iterative thinking, students expressed feeling engaged and motivated, enjoying this activity, and embracing the challenge. The photographic camera was identified as a thinking tool that could be a valuable device to incorporate into educational activities. Hence, visual awareness is understood in this paper as a mode of visual perception that enables a process of thinking iteratively about a particular topic. The findings showed that visual awareness linked observation and reflection at the same time, since the students were continually looking for ordinary objects to carry new meanings that were relatable to specific arguments and ideas expressed in the reading materials. In the last stage, the students talked about their experience through in-depth interviews. In the second phase, all the created images were presented and discussed during class. The first consisted of a specific task: after reading assigned materials from different sources, PhD students had to take a photograph as a visual reading-report. The research was conducted in three phases. This paper presents research results that aid in understanding how photography can become a tool for iterative thinking as a mode of reflection. The results show that, even in theoretical lectures, students are more comfortable, motivated, involved and insightful when they are required to develop visual, instead of written, exercises as assignments. This research aims to understand deeper this challenge. So, the fact that graphic design students continue using their native language, means that they are being restrained from developing visual literacy. Second language learners do not hand in assignments written in their native language.
However, when graphic design students are learning the visual image language, they are also using their native language because they have to work on written assignments such as essays, reading reports, observation notes, among others. When learning a second language, teachers speak to students in the second language, classmates are encouraged to speak it to communicate with each other, and homework is also given and received in the second language.
There is a challenge in Design Education- if we think of a design education student just the same as a student learning a second language. Insights were framed through interviews and workshops with graphic design students in the Autonomous University of Aguascalientes, Mexico, between August 2013 and June 2014. This paper outlines the results of a research aiming to understand and explore the development of visual literacy in graphic design students.