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This study sought to provide an overview of the competencies required by employers in advertising for graphic design position in relation to inter-active design in Ghana. This was done in the context of the dynamism of graphic design profession with current technological advances. Both thematic and content analysis were used to analyse online job adver-tisements collected within eight months to determine the patterns and frequencies of occurrence of specific requirements for the job position relating to graphic design. This was to better understand employers’ expectations from the graphic designer in terms of designing for interac-tivity and the implications for graphic design pedagogy. Findings from the study revealed that, traditional graphic designers in Ghana will now have to acquire skills in interactive design and competencies associated with them. These include among others, responsive design, problem-solving, coding skill, software skills, creativity, CMS tools, project management and personal characteristics. Beyond these, request for skills in coding, knowl-edge in responsive design, knowledge in content management system tools, software skills and teamwork are the most frequently expected skills from the present day graphic designer. We end the paper by suggesting how our study could trigger graphic design pedagogy development.

This article digests some of the general ideas that constitute the concept of colour among the Akan people of Ghana and how their proper understanding and desirable consideration will enhance effective visual communication in the Ghanaian visual arts curriculum. The investigation, which involved a number of conversations with knowledgeable personalities in the teaching and speaking of the Akan language, sought to bring out the perceptions, beliefs and functions of colour among the people. The outcome of the study pointed to how colour resides deeply within the traditional lives of the Akan people, not only as aesthetical experience but also as an ‘object’ of cultural and spiritual signification. The study therefore recommends a proper understanding of and conscious respect to the perceptions and meanings of colour among contemporary Akan designers and design educators to improve the design experience of teachers, learners and practitioners.

This study explores the aesthetic dimensions of Kwame Nkrumah's cultural policies in the creation of Ghana's Presidential Seats and the State Sword. The study is an Art Historical research situated within the qualitative research paradigm. It had a population of a defined class of cultural policy makers, art historians, traditional rulers, nationalists, visual artists and Ghanaians resident both in and outside Ghana. The study examined how the creation of Ghana's Presidential Seats and the State Sword were influenced by Kwame Nkrumah's cultural policies and the cultural significance of the aesthetic interplay of ethnic insignias used in capturing the Ghanaian concept of Political authority. The study revealed that, Nkrumah recognised the cultural art forms and elements of ethnic Ghana as assets for national development. In line with his policy of building the Nation State of Ghana, he used ethnic cultural art forms and elements. At independence, Nkrumah commissioned some visual artist to create some artistic pieces (politico-cultural artefacts) for the Ghanaian political authority with inspiration or based on what pertains in the traditional authority (Chieftaincy) of Ghana. Politico-cultural artefacts as used in this study refer to the artefacts produced based on the cultural concepts of the ethnic states for the use of the political authority of the Republic of Ghana.