Nicole Roberts MFA Thesis Visual Component Artwork - Savannah ...

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72 CREATIVItY % of students worry that their fundamental skills are not strong enough to be successful in a professional workplace. 7 Rachael Posnak, “Job Outlook: Juniors,” CMYK Magazine, vol. 44, July 2009, 74. 8 Steven Heller, Education of an E-Designer, (NY: Allworth Press), 103. Along with industry professionals, both graphic design educators and students surveyed also feel as though creativity is the fundamental skill most emphasized within their current curriculum. However, upon further review, student insecurities became apparent; 72% of students surveyed claim they are not confident that their fundamental skills are currently strong enough to compete professionally. Students must realize that creativity is one facet of design education that derives predominantly from the passion and inspiration within themselves. Educators must not only teach students the constructs of critical thinking, but also strive to inspire them to expand their influences from which creativity is ignited. The opportunities for pedagogical change can be found in the framework that further peaks student curiosities to discover and create. This framework “defines the limits, but the canvas varies, from student to student, from time to time, and from technology to technology.” 8 Taking into account how rapidly the field of graphic design has and will continue to evolve, the best solution to instilling creativity that succeeds in the twenty-first century workplace is to promote the necessity for continuous learning. We’re in the ideas business, first and foremost. Creativity is not something you can switch on and off. You need to live it. 7 Colin Jeffery, Creative Director/Partner David & Goliath Los Angeles, CA 12
pORTFOLIO DESIGN DISCOURSE PROCESS CRAFT & TECHNIQUE PORTFOLIO CREATIVITY DESign discourse CREATIVITY craft & technique CREATIVITY CRAFT & TECHNIQUE PROCESS DESIGN DISCOURSE professional EXpectations Educator Objectives student proficiency 13
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 and 12: abstract Leading professionals lear
Page 13 and 14: introduction Since William A. Dwigg
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: EXPECTATION 1 | creativity EXPECtAt
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 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 57 and 58: VISUALIZING CURRICULAR CONCEPTS OBJ
Page 59 and 60: visualizing curricular concepts CHA
Page 61 and 62: visualizing curricular concepts Unl
Page 63 and 64: visualizing curricular concepts In
Page 65 and 66: visualizing curricular concepts Not
Page 67 and 68: visualizing curricular concepts Por
Page 69 and 70: visualizing curricular concepts Mor
Page 71 and 72: visualizing curricular concepts Dex
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the college curriculum.” 38 Even
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Lupton, Ellen, and Jennifer Cole Ph
Page 77 and 78:
about the author Nicole Roberts is
Page 79 and 80:
about survey participants professio
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about survey participants educators
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about survey participants I think w
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Nicole Roberts MFA Thesis Visual Component Artwork - Savannah ...

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