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

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

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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

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

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