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

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What is the most common of new graduates? Collective Cognizance Design Discourse EXPECTATION 3 | design discourse Craft & Technique Process Creativity Research & Theory Portfolio 13 Nancy Mayer, “Putting Criticism into Critique,” in The Education of a Graphic Designer, ed. Steven Heller (New York, NY: Allworth Press, 2005), 98. 14 Michael Rock, “The Designer as Author,” in Graphic Design Theory: Readings from the Field, ed. Helen Armstrong (New York, NY: Princeton Architectural Press, 2009), 114. 20
EXPECTATION 3 | design discourse To become adept in expressing and defending the conceptual content of one’s work, it is largely understood that students must study art and design history, theory, and criticism. Today’s design students face a disturbing disconnection between the art and design discourse they study, and the design discourse they receive in their studio critiques. Design discourse is largely initiated by thinking out loud. Ideally, a student will verbally present visual concepts to the class by first restating the design problem, including researched aspects of audience, culture, competitor precedents, etc. Then a student will describe thoroughly how each design decision fundamentally serves to solve said problem, from the form to the color selection to the typeface and imagery choices. The student’s peers and professor are then cognizant of the designer’s intentions (visually successful or not) and may proceed to contribute to an informed critique. However, far too frequently this ideal scenario does not occur. Many times a classroom critique is merely quick judgment, while truly informed criticism must relate to in depth inquiry. 13 I would revamp our Intro to Graphic Design course to include more history, understanding of current issues and designers as well as the various professional outcomes of the profession. It would be more seminar and discourse with less projects. Eric Benson, Professor University of Illinois Urbana, Illinois This is due in part to the increased complexity and new technology per student project, which often presents a learning curve for both professor and student, thus chipping away essential critique time. It can also be attributed to educators not enforcing formal studio presentations, which in turn allows undergraduates to connote a lax approach to design discourse. Despite these challenges, educators are well aware of the significance of design discourse within today’s design education. Introductory courses are where the precedent for discourse must begin. Thereafter, each design project must originate with formal written and verbal presentations. By educators necessitating written creative briefs and proposals at the start and artist’s statements at the conclusion of studio coursework, students will develop more authority over their visual communication through an author’s perspective. The study of design discourse has presented designers of the twenty-first century with the insight and capability to no longer restrict them to simply mediating the text. Graphic designers have expanded to not only be creators of form, but also of the audience and of the textual message itself. Principal of 2x4, Inc. – Michael Rock calls for “an examination of the designer-as-author” relationship. “[It] could help us to rethink process, expand design methods, and elaborate our historical frame to incorporate all forms of graphic discourse.” 14 As a catalyst for the future of graphic design and the number one ranked shortcoming of new graduates, educators must push design discourse to the forefront of pedagogical priorities, while maintaining the balance between critical thought and technical proficiency. By accompanying every design project with formal written and verbal presentations, students will be more prepared for this expectation upon entering the professional workplace. 21
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 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
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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
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Page 65 and 66: visualizing curricular concepts Not
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Page 71 and 72: visualizing curricular concepts Dex
Page 73 and 74: the college curriculum.” 38 Even
Page 75 and 76: 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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