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

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.
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