Nicole Roberts MFA Thesis Visual Component Artwork - Savannah ...
Nicole Roberts MFA Thesis Visual Component Artwork - Savannah ... Nicole Roberts MFA Thesis Visual Component Artwork - Savannah ...
conclusion 37 MarshallMcLuhan.com, http://www. marshallmcluhan.com/poster.html 38 Heller, Education of an E-designer, 105. The field of graphic design has constantly and consistently changed upon its inception and will continue to reinvent itself as technology advances. Pedagogy should not be defined by or limited to industry expectations, but should be greatly informed and influenced by them. Graphic design education must not rest on serving the public’s current definition of it or reacting to change only after it surfaces within the industry. The best curricula anticipate future change and produce design professionals that embody the same philosophy. The essence of this proactive vision in education can be traced back to the Marshall McLuhan caveat, “If we look at the present through a rearview mirror, we march backwards into the future.” 37 Armed with the knowledge of what today’s leading professionals expect from new graduates of the future, visualizing certain pedagogical change seems all the more tangible. Research shows that in order for design student to be fully prepared to enter the today’s professional graphic design workplace, they must be proficient in fundamental skills of (1) creativity, (2) craft and technique, and (3) design discourse; new modalities and methods of (4) digital media and (5) multi-disciplinary approaches; and knowledge of business with (6) innovative strategy, and a sense of (7) social responsibility. Realistically, even with the best schools and the top professors, a design curriculum cannot carry the entire responsibility of a graphic designer’s success or failure post-graduation. As Steven Heller says, “The content of education is more than 62
the college curriculum.” 38 Even after mastering the core set of professional expectations, a design student’s body of knowledge can never be looked upon in completion; it remains ongoing and continuous. The best remain curious, thirst for knowledge, and 39 Heller, Education of an E-designer, 105. surround themselves with forward-thinkers who embrace the same notion of change. Graphic design education must continue striving to stay ahead of the industry’s learning curve and to bridge the dichotomy between pedagogy and professional practice. More strides need to be made to develop professional certification for graphic designers, more portfolio reviews need to occur within academia, and more design programs need to consistently seek national recognition through nasad. Currently, without the universal acceptance of these tenants, the sole criterion for measuring a design program’s success lies within the competency of their students in the professional workplace upon graduation. Impending change and growth is the one unrivaled consistency schools embrace globally, as graphic design pedagogy continues to be translated into diverse configurations across the nation. On this account, the seven distinct professional expectations identified are in stride with the twenty-first century workplace today, but also come with the guarantee to evolve through time and technological advancement. This is the cyclical nature of the cultural force that is graphic design, its “education has no beginning or ending.” 39 Education itself might be looked upon as the assimilation of experience – the content of education is more than the college curriculum. Education has no beginning or ending. Steven Heller 63
- 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
- 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: visualizing curricular concepts Dex
- 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
conclusion<br />
37 MarshallMcLuhan.com, http://www.<br />
marshallmcluhan.com/poster.html<br />
38 Heller, Education of an E-designer,<br />
105.<br />
The field of graphic design has constantly and consistently changed upon its<br />
inception and will continue to reinvent itself as technology advances. Pedagogy should<br />
not be defined by or limited to industry expectations, but should be greatly informed<br />
and influenced by them. Graphic design education must not rest on serving the public’s<br />
current definition of it or reacting to change only after it surfaces within the industry. The<br />
best curricula anticipate future change and produce design professionals that embody the<br />
same philosophy. The essence of this proactive vision in education can be traced back to<br />
the Marshall McLuhan caveat, “If we look at the present through a rearview mirror, we<br />
march backwards into the future.” 37 Armed with the knowledge of what today’s leading<br />
professionals expect from new graduates of the future, visualizing certain pedagogical<br />
change seems all the more tangible. Research shows that in order for design student to be<br />
fully prepared to enter the today’s professional graphic design workplace, they must be<br />
proficient in fundamental skills of (1) creativity, (2) craft and technique, and (3) design<br />
discourse; new modalities and methods of (4) digital media and (5) multi-disciplinary<br />
approaches; and knowledge of business with (6) innovative strategy, and a sense of (7)<br />
social responsibility. Realistically, even with the best schools and the top professors, a<br />
design curriculum cannot carry the entire responsibility of a graphic designer’s success or<br />
failure post-graduation. As Steven Heller says, “The content of education is more than<br />
62