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A visual culture learning community (VCLC) is an adolescent or young adult group engaged in expression and creation outside of formal institutions and without adult supervision. In the framework of an international, comparative research project executed between 2010 and 2014, members of a variety of eight self‐initiated visual culture groups ranging from manga and cosplay through contemporary art forms, fanart video, graffiti and cosplay in five urban areas (Amsterdam, Budapest, Chicago, Helsinki and Hong Kong) were studied through interview, participant observation and analysis of art works. In this article, collaborative group practices and processes in informal learning environments are presented through results of on‐site observations, interviews and analyses of creations. VCLCs are identified as inspiring, collaborative spaces of peer mentoring that enhance both visual skills and self‐esteem. Authors reveal how identity formation is interrelated with networking and knowledge sharing. Adolescents and young adults become participants of global communities of their creative genres through reinterpretation and individualisation of shared visual repertoires. In conclusion, implications for art education from the VCLC model for creative collaboration are suggested.

Current research has addressed children's involvement in codesign from several different perspectives such as empowerment, design thinking, participation, and learning. The literature presents many roles that children can have in participatory design (PD) e.g. as testers, informants, users, co-designers, and co-researchers. Both critical views and solutions to support children's genuine participation exist. The investigation was motivated by examining whether and how children's participation can be enhanced through PD practices. The study conducted a participatory design (PD) process in a kindergarten in Finland together with adults and children. The Grounded Theory analysis elicited different roles of the participants as prominent indicators of the interaction in and quality of participatory process. These roles were further elaborated as Zones of participation (ZoP) that constituted of the Zone of audience, Zone of whisperer, Zone of actor and Zone of director. The analysis shows that there are significant co-occurrences between participant groups accessing different zones. We suggest that the quality of participation in the design process can be investigated by identifying participants' access to different ZoP. Movement between the zones indicates that there is no onesided control over actions and dialogue between the participants is prominent.

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