The rapid emergence of the global, digital workplace within contemporary design practice has raised workplace within contemporary design practice has raised questions regarding the educational implications of professional collaboration across cultural, geographical and disciplinary borders. Are we effectively preparing students disciplinary borders. Are we effectively preparing students for this new creative paradigm? Educationalists are responding by implementing more face-to-face team-based approaches, but the potential of online learning - the medium ideally suited to this new international digital work environment - has largely been overlooked.

COFA Online has been creating, evolving and evaluating fully online art and design courses for the last three years in response to these questions. By triangulating data from a series of online case studies, teacher and student experiences, and three years of evaluations, this paper highlights specific online pedagogical approaches that have successfully engaged students in an active, collaborative online learning environment. It also pinpoints problems that can occur in online teamwork, and investigates several potential solutions.

If carefully considered, online team-based learning can parallel contemporary collaborative work practices within the global design industry, and can help equip students with the collaboration and communication skills they need in order to work successfully in this professional environment. This paper highlights the need for educationalists to continue to pursue higher levels of understanding of online collaborative learning in the context of design, and offers suggestions on how to move forward.

Online learning is a constantly evolving area and, as a result, methods of assessing student learning are constantly being developed and improved. This is particularly true for online learning in art and design. There is currently little literature on online pedagogical approaches that are specific to the visual arts, and because of the unique nature of this area, current online learning theory and assessment (which is often based on less visual disciplines) is not always entirely appropriate. COFA Online, an academic unit at UNSW’s College of Fine Arts, was established in 2003 to train academic staff and industry professionals in writing wholly online undergraduate and postgraduate courses in disciplines related to art and design, and to develop online pedagogical approaches specific to art and design.

Assessment is a vital component of these new online approaches. How can disciplines traditionally taught in a face-to-face studio environment be effectively taught and assessed in a fully online environment? This case study explores this question in relation to a typical COFA Online course, attempting to identify successful assessment practices in online art and design education, highlighting areas of online assessment strategy that require further refinement, and gauging the impact on the quality of student learning. The study also demonstrates how a systematic approach to the evaluation of teaching and course design can form part of a cycle of continual improvement in these areas.

While online technologies continue to reshape and enhance possibilities for collaboration, traditional administrative and pedagogical approaches at many higher education institutions worldwide still focus on the merits of the individual. In many cases there is an active effort to actually encourage students not to work together, in striking contrast to the norms of other academic and professional activities such as research and interdisciplinary collaborations. Yet, collaboration is increasingly recognised and respected as an important component and culture of contemporary creative processes (Warwicker, 1999). So, what are the benefits of creative collaboration online and how do they relate to a pedagogical framework in the ethical curriculum?

The Omnium Project has been hosting global online education and creative communities since 1999 in order to examine some of these questions. A recent project, Creative Waves, was held over a seven- week period in 2005 and formed the largest multicultural community of creative students to ever work together in a totally online context. The visual works themselves formed only part of the final outcome; the collaborative process and online discussions were arguably more valuable. Two message-board threads specifically discussed issues of collaboration and generated 22,000 words of critical debate. This paper examines several questions and themes raised through the discussions in Creative Waves and explores how they might lead to a heightened awareness of the role of designers as ‘good citizens’ in terms of ethic, society and sustainability through the newly formed Omnium Creative Network.

In the engaging and informative Enhancing Curricula conference hosted by the Centre for Teaching and Learning in Art and Design (CLTAD) in Lisbon, 2006, several themes kept reappearing from a number of presenters. There were plenty of engaging case studies of reflective practice both in teachers and students as well as the development of design processes and projects. Another common theme was the global, multi-cultural nature of our students. It is not news that we have a growing international student body and one that is fluid in both cultural identity and location (and this includes our ‘local’ students). What became apparent at the conference, however, was the fact that academic staff are far less able to be similarly fluid in their cultural experiences. We have some exchange programmes, of course, but the nature of academia is to remain in the same place for a very long time to work one’s way up the ladder. This kind of working environment is increasingly rare and certainly it is markedly different to those of our students who will be likely to have at least twenty jobs, several careers, possibly in several countries and professions, in their lifetimes.

Advancements in technology have always exerted a significant impact on creative practices in art, design and communication. However, have our creative processes (as visual communicators) and pedagogical activities (as art & design educators) responded adequately to the ever-increasing complexities of living, creating and learning in a global society that is culturally complex, technologically driven and operates twenty-four/seven?

This paper provides an opportunity to review Creative Waves, the world's largest international online student design project, and is significant in that it represents the first project of such nature to be endorsed by ICOGRADA (International Council of Graphic Design Associations). Hosted over a seven-week period throughout March-April 2005 for the Icograda Education Network (IEN), over 120 art and design students, teachers, practitioners and writers from around the globe were linked into small creative clusters, where no team member was in the same geographic location. Using Omnium's own unique online design studio software, participants were able to interact in shared, creative exchanges, responding to challenges set by an unfolding and conceptual design brief: ultimately being given the opportunity to balance individual and collaborative studio approaches, and engage in active and reflective modes of creative dialogue, discussion and visual collaboration.

The paper reflectively critiques the project and its claim to respond to revised global demands on creative education by challenging traditional paradigms of individual and localised creative processes, through collaborative international alliances and technological innovation.

Advancements in technology have always exerted a significant impact on creative practices in art, design and communication. However, have our creative processes (as visual communicators) and pedagogical activities (as art & design educators) responded adequately to the ever-increasing complexities of living, creating and learning in a global society that is culturally complex, technologically driven and operates twenty-four/seven?

This paper provides an opportunity to review the latest Omnium Project: Creative Waves (CW), the world's largest international online design project, and the first project of such nature to be endorsed by ICOGRADA (International Council of Graphic Design Associations). Hosted over a seven-week period throughout 2005, over 120 art and design students, teachers, practitioners, theorists and writers from around the globe were linked into small creative clusters, where no team member was in the same geographic location.

By examining in detail an online conversation about 'collaboration in the creative process', this paper begins to reflectively critique the Creative Waves project and question whether such online projects are responding to revised global demands on creative practices.

This paper examines the current relationship between contemporary design education and design practice within a constant state of multi-faceted change. It discusses changing demands for design education and practice, from a more global society. Within a world of increased interconnectivity and multiplicity in ideas, cultures and practices' (Warwicker 1999), it observes strategies suggested by theorists, educators and practitioners to accommodate social change within the two contexts.

By seeking and describing the opinions of 549 Australian design students on the implementation of suggested strategies to accommodate change, the paper proceeds to describe an example of one online design education initiative that has attempted to address responses and concerns. The Omnium Project has instigated an alternative educational framework through a series of online collaborative design ventures and experiments; arguably providing a more flexible, holistic and responsive learning culture for creative disciplines. It encourages collaborative exploration; intellectually, creatively and practically by using new technologies associated with the Internet.

As funding for higher education continues to shrink, student numbers steadily increase and international alliances become significantly important, online delivery is often heralded as the 'direction of the future' for learning and teaching. However, deep rooted and negative opinions regarding the online learning experience and concerns that technology will replace the teacher accompany the new pedagogical setting.

By paying careful attention to the alignment of course content, learning activities, assessment and learning outcomes, online education experiences can be engaging and rewarding for both student and teacher. However, perceptions often remain negative towards online education, viewing it as simply a cost-saving measure leading to student isolation, inactive participation and absent teachers. This paper aims to outline some myths regarding online education and dispel them as misconceived.

The last decade witnessed a 'virtual goldrush' of activity in regard to online education worldwide. Unfortunately, many institutions and software companies flattened the pedagogical landscape in a scramble to establish their own online presence. In general, what remained were hastily planned and generally low quality subjects/programs: sadly reinforcing belief that online education is a poor substitute for face-to-face learning and teaching.

Fortunately, time has moved on, with more credible institutions realising that quality must be the key component of online education. Some have begun to identify highlights of previous examples and are building upon them. It has become apparent that to achieve purposeful and quality online subjects, educators need to look past an immediate return and view a more long-term solution.

COFA Online was established at the College of Fine Arts in 2003, and has since been planning, developing and teaching online subjects in art and design practice, education and theory - methodically building the foundations of a sustainable online program. This paper outlines the COFA Online Course Author Fellowship program and how it aims to provide a quality experience for students studying online.

The term Design Studio has come to inherit two commonly used definitions. It is seen as actual physical space where designing occurs and/or the conceptual and practical process of designing: one that sometimes incorporates a method of teaching centred on the activity of 'learning by doing'.

With the recent explosive growth of the Internet as a tool for mass communication, the situation now exists for educational design studios to be offered online. Over the last decade, such virtual design studios (VDS) have proliferated. In many ways, online or 'virtual' studios are analogous to traditional studios, yet important differences are apparent in the transition from the more familiar face-to-face method of instruction. The relatively limited published research regarding online design studios is often preoccupied with technology; consequently little examines the important issues of pedagogical content and student interaction.

This paper examines contemporary online design studios in contrast to the traditional studio model. By analysing the views of two eminent theorists who have published in these fields, further comparisons can be drawn between the two processes.

Through this comparative analysis of traditional and modern design studio settings and theory, criteria is suggested to guide future planning for Internet based design studio interaction.

The Internet has been described as the third revolution in mass communication following the Roman alphabet and the printing press. Within the specific context of creative disciplines, the potential for effective, collaborative online working processes between distanced individuals is now far more tangible. The Internet offers us exciting opportunities to break free from more traditionally individual and local practices: ultimately allowing us to form creative alliances with people we may not normally meet.

An additional potential resides within the removal of physical, spatial. temporal and cultural boundaries. Educational institutions worldwide are 'jossling' to form revised pedagogical approaches within new 'flexible delivery' programs, at the same time hoping to reap immense economic benefits in the harsh and competitive environment of 21st century tertiary education.

However, in the ensuing 'rush' to realise such a potential, educators, systems designers and programmers often seem to neglect to consider issues needed to make the transition comfortable and valuable when moving from our familiar face-to-face classes, to new online existences. Simply utilising the abundance of available technology is not enough to help us adapt to our new surroundings. Technology must be integrated with purpose, aesthetic, theory, sociology and ergonomics to help us adapt.

This paper will explore issues to consider when designing interfaces for collaborative online education and practice. It describes in detail one such initiative, The Omnium Project: a web-based environment that has begun making the new world for designers/students a comfortable and productive place to learn and work.

Despite the Internet being hailed as a wonderful and revolutionary communication tool, it also carries with it a multitude of dangers and fears for those who 'surf it', design for it or interact with it. The 'space with no boundaries' is also a space with very few regulations or controls. As educators we should resist the opportunity to simply provide 'immediate' internet learning packages but instead carefully examine the methods students adopt when working on-line and design effective programs accordingly. It is crucial to understand how people interact with the Internet before designing and presenting any kind of content.

This paper describes the production, facilitation and some outcomes of a pilot study for on-line tertiary education in the visual arts. Om'nium 1.0: virtual design studio [vds] '99 brought together 50 design students from 11 countries (15 universities) across five continents for a uniquely collaborative learning process over a 10 week period.

Om'nium [vds]'99 is now established as the world's first fully international, interactive and collaborative on-line global classroom. It is a research project involving 50 students from geographically distanced university design faculties working collaboratively through a 'process' to produce developed, multidisciplinary design solutions using the internet as their communication tool.

The aim of Om'nium [vds]'99 was to explore future possibilities of 'design studio' education made available by technological advances of internet communication. The project encouraged and emphasised; collaboration, innovation, redefinition, communication and interaction and strove to recognise alternative approaches and mechanisms for the future of teaching and learning [design]. Omn'nium [vds] aimed to be radical, alternative and innovative and in turn promote a revised understanding of the 'design studio' as an educational setting.