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

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EXPECTATION 4 | digital media Conversely, when surveyed on this topic, 60% of educators do not believe that print design and digital design should be treated equally within undergraduate graphic design curricula. The opposite is true for their students; 73% feel that with the direction technology is heading, print and digital design should be taught as equals within their curriculum. The dichotomy persists when educators and students were asked which aspects of their curriculum are emphasized the most. Digital media ranked second highest for educators, while students ranked it as the least emphasized within their current curriculum. It is undisputed that digital design education must be incorporated into collegiate graphic design programs. The problem remains that with this addition there are significant time constraints placed upon educators and more pressure placed upon students to master new media while concurrently developing a quality design project. Therefore, how technology is taught must change. Ideally in design education, technical proficiency comes prior to the application of these skills to extensive design problems. Students report that when expected to master the two simultaneously, the results were both technically and aesthetically below average. Ultimately, when the aesthetics within new media projects suffer, it is predominately due to poor technical proficiency. The solution for graphic design curricula resides in separating the two tracks of new media learning (technical versus conceptual/aesthetic) to ensure students are equally competent in both. A close comparison can be made in respect to international students who must first take an ‘English as a Second Language’ class in order to fully articulate and comprehend future coursework within their curriculum. They do not expect other professors in each of their core classes to teach them basic English comprehension in order to verbally communicate, just as students of graphic design cannot expect their design studio professors to spend time teaching them basic new media software techniques in order to visually communicate. Students must come to these courses equipped with a moderate level of technical knowledge. This is not to add yet another requirement to an already lengthy course list for graphic design majors. But curricula must publicly offer elective courses focused exclusively on mastering software immediately prior to each relevant studio class. This effort will serve to set the pre-requisite of acquiring a moderate level of experience with new media software prior to the design studio coursework. As a result, students will no longer be weighed down by a technical learning curve while they try to produce quality design projects, and educators will not feel compelled to lecture an entire class on software techniques. This solution will save time and energy by allowing both educators and students to focus more so on the critical thinking and aesthetics to solve the digital design problem. The field of graphic design will always be intrinsically linked to the tools and technology its practitioners use to create. But as technology is destined to continually reinvent itself, so must the skill set of its students. The opportunity for pedagogical change lies in promoting technical proficiency prior to design studio requirements, while continuing to exercise their new media skill sets throughout their educational career. Graphic design curricula must not allow students to become technologically complacent. We as educators have not taken web design and interactive media as seriously as other areas like typography and imaging. martha Scotford, Professor North Carolina State University Raleigh, North Carolina 24
It’s no longer possible to make a career in print alone. Jon Garcia, VP of Design Fuzebox Inc. Atlanta, Georgia This solution is actualized in the following academic scenario: A graphic design curriculum calls for a student to take ‘Interactive Design Studio’ during spring/summer term. [1] Therefore, an academic advisor contacts the student prior to this term to inform them that this upcoming course requires a moderate level of technical proficiency in Adobe Flash ® for example. [2] The advisor then allows the student to self-assess their comfort level with the new media in question. At this point, most students have a low to below average comfort level using this program. [3] The student is made aware of the ‘Introduction to Flash’ elective course available for registry the fall/ winter term before their ‘Interactive Design Studio’ requirement. For the students who already have moderate knowledge with technical aspects of the new media in question, advisors will direct them to tutorial resources, like the web site lynda.com to briefly refresh their skill set prior to beginning the digital design course. EXPECTATION 4 | digital media I graduated without knowing much about web and interactive design; now I feel lost and behind the times. Amy McNeil, Class of 2007 University of Cincinnati Cincinnati, Ohio 25
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: EXPECTATION 4 | digital media EXPEC
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
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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