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

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In addition to core requirements graphic design curricula should direct students to general studies that support their specialty study in design. Design coursework should make use of concepts and skills acquired through study in areas other than design and vice versa. public relations computer science sociology anthropology philosophy systems theory communications mathematics psychology humanities physics generalist economics foreign language engineering statistics journalism world history programming EXPECTATION 5 | multi-disciplinary approach photography publications marketing architecture business interior design writing human factors entrepreneurship environmental graphic design advertising industrial design print design digital design branding specialist identity design 30
EXPECTATION 5 | multi-disciplinary approach Art & Design History 10% 20% Supporting Design Disciplines Graphic Design Core 35% 35% General Education 16 Steven J. Teper, “The Creative Campus: Who’s No. 1,” The Chronicle of Higher Education, October 1, 2004. http://chronicle.com/article/The- Creative-Campus-Who-s/4870 (accessed January 31, 2010). 17 Daniel van der Velden, “Research & Destroy: A Plea for Design as Research,” Graphic Design Theory, 2006. http://graphicdesigntheory. net/Velden.html (accessed February 12, 2010). The average newly graduated graphic designer does not laud all that falls within their educational or occupational grasp. The twenty-first century has presented a more technological and more global industry than ever before. Pioneering designers are broadening their horizons into new dimensions, combating the ephemeral stigma of print, and integrating a multi-disciplinary approach to design, digital technology, product development, and the built environment. Students entering into the professional workplace see their career paths as graphic designers in a more fluid manner than collegiate design department names suggest. 16 Practitioners who capitalize on this philosophy distinguish themselves from more traditional design titles with specificity, such as environmental graphic designer, interactive space designer, network brand manager, or experience designer. Daniel van der Velden, Partner in the design research think tank Metahaven witnessed that “the ambition of the designer always leads beyond his discipline and his official mandate, without this above-and-beyond having a diploma or even a name of its own. Still, it is remarkable that design… enjoys far less respect than the combination of design and one or more other specialisms.” 17 Van de Velden’s notion of ‘beyond the discipline itself’ reinforces the need for multi-disciplinary knowledge. The term ‘graphic design’ exists today as a profession of pluralism, yet so often design education becomes insular in its process and methodologies. Many educational programs strive to further define individual disciplines, yet inadvertently create a void. After foundation studies design students are partitioned off, many find themselves enduring a multitude of projects, critiques, research, and theory, rarely crossing the paths of sister fields of design study. Naively, design students allow themselves to remain secluded, and mistakenly, collegiate administration fuels this divide by enabling curricula that does not require them to do otherwise. 31
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
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: 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 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
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
Page 81 and 82: about survey participants educators
Page 83 and 84: about survey participants I think w

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

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