Nicole Roberts MFA Thesis Visual Component Artwork - Savannah ...
Nicole Roberts MFA Thesis Visual Component Artwork - Savannah ... Nicole Roberts MFA Thesis Visual Component Artwork - Savannah ...
introduction The curriculum for the Bauhaus School in Weimar, Germany combined coursework derived from architectural programs, crafts schools, and academies of the arts. 2
introduction Since William A. Dwiggins first coined it in 1922, the term ‘graphic design’ has witnessed a definitive expansion from its origins of exclusively printed communications. Its perception has evolved from a mere craftsman’s trade to a multifarious “professional craft, strategic tool and vital cultural force.” 1 How we perceive design has evolved in tandem with the expeditious advancements in communicative technology and the globalization of business in a continual expansion. Twenty-first century graphic design is no longer a luxury commissioned by billion dollar conglomerations, or exclusively found tucked away in highbrow museum galleries. Design is now a household term for the average consumer, however loosely understood. With this increased public awareness comes increased public demand. Leading professionals learn to adapt quickly in the field, continually learning and implementing new methods and technologies as consumer demands arise. All too frequently, it is the collegiate design schools that are slow to respond to this continuous learning curve. Some progressive graphic design departments revisit their curricula often to incorporate new industry advancements, while others stumble upon the politics of academia, preventing their good intentions of timely refinement. Many hold fast to the form-based Bauhaus teachings, while others embrace the complex postmodern concepts and tools of what is now termed the “information era.” Proactive educators learn new software and have begun to reinvent the balance of teaching technical skills with teaching critical thinking. 2 Graphic design historian – Philip Meggs denounces, “While many schools are busy manipulating form, the profession is busy manipulating minds. American design education has drifted toward European modernism, while American graphic design has maintained a pluralistic pragmatism. Students often suffer an intense culture shock after graduation, for they have been taught to be form manipulators, while the profession demands that they become message makers.” 3 1 AIGA: The Professional Association for Design, “About AIGA,” AIGA, http:// www.aiga.org/content.cfm/about-aiga (accessed January 31, 2010). 2 Ellen Lupton and Jennifer Cole Phillips, Graphic Design: The New Basics (New York, NY: Princeton Architectural Press, 2008), 5. 3 Philip Meggs, “Pedagogy vs. the Real World,” from AIGA Journal of Graphic Design, vol. 4, no. 1, 1986, in Meggs: Making Graphic Design History, ed. Rob Carter, Libby Meggs, and Sandra Wheeler (Hoboken, NJ: John Wiley & Sons, Inc., 2008), 75. 3
- Page 1: Unlike any other major of study, gr
- Page 6 and 7: © 2010 Nicole R. Roberts nrober24@
- Page 9 and 10: contents Abstract .................
- Page 11: abstract Leading professionals lear
- Page 15 and 16: INTrODUCtiON Currently, a student
- Page 17 and 18: fundamental skills Collective Cogni
- Page 19 and 20: fundamental skills *Creativity rank
- Page 21 and 22: EXPECTATION 1 | creativity EXPECtAt
- Page 23 and 24: pORTFOLIO DESIGN DISCOURSE PROCESS
- Page 25 and 26: EXPECTATION 2 | craft & technique E
- Page 27 and 28: Statement of the Eames Design Proce
- Page 29 and 30: EXPECTATION 3 | design discourse EX
- Page 31 and 32: EXPECTATION 3 | design discourse To
- Page 33 and 34: EXPECTATION 4 | digital media EXPEC
- Page 35 and 36: It’s no longer possible to make a
- Page 37 and 38: Students must continually practice
- Page 39 and 40: EXPECTATION 5 | multi-disciplinary
- Page 41 and 42: EXPECTATION 5 | multi-disciplinary
- Page 43 and 44: EXPECTATION 5 | multi-disciplinary
- Page 45 and 46: EXPECTATION 6 | innovative business
- Page 47 and 48: Being good in business is the most
- Page 49 and 50: EXPECTATION 6 | innovative business
- Page 51 and 52: EXPECTATION 7 | social responsibili
- Page 53 and 54: EXPECTATION 7 | social responsibili
- Page 55 and 56: EXPECTATION 7 | social responsibili
- Page 57 and 58: VISUALIZING CURRICULAR CONCEPTS OBJ
- Page 59 and 60: visualizing curricular concepts CHA
- Page 61 and 62: visualizing curricular concepts Unl
introduction<br />
The curriculum for the Bauhaus<br />
School in Weimar, Germany<br />
combined coursework derived<br />
from architectural programs, crafts<br />
schools, and academies of the arts.<br />
2
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