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

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EXPECTATION 7 | social responsibility Amongst industry professionals, the notion of social responsibility also spawns discussions concerning the need for students to increase their cultural awareness prior to entering the twentyfirst century workplace. “Today’s new pluralism in graphic design must be seen as a response to the greater multiculturalism of today’s global society.” 33 With the opulence of technology and our expanded global demands, the audience for which we design is increasingly important. Design history lectures will always idolize the “universal” design solutions of Bauhaus Modernism as the true “international style” of yesteryear. But with the new wave of social media and other forms of technology that broaden our communicative abilities, there is no longer such a thing as a universal audience. 34 With each project, students must learn to become experts on “the audience’s values, symbolic codes, and communicative styles; and preferred media and distribution channels must inform how we shape the written message.” 35 The First Things First manifesto reminds us that designers have the potential to create messages that have a profound impact on the world. Opportunity for pedagogical change rests in infusing practical principles of design ethics in students by requiring each studio project to fully research the global audience’s perspective and incorporate aspects of social responsibility by concept, process, and production. Design is directed toward human beings. To design is to solve human problems by identifying them & executing the best solution. Ivan Chermayeff 33 Fiell, 8 34 Katherine McCoy, “Maximize the Message: Tailoring Design for Your Audience in a Multicultural Era,” in The Education of a Graphic Designer, ed. Steven Heller, (New York, NY: Allworth Press, 2005), 279. 35 Ibid, 283. The First Things First manifesto was published in January 1964. Inexplicably, reverberations are still apparent. 44
EXPECTATION 7 | social responsibility Design is a call to action. Charles Eames 45
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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 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 53: 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
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Nicole Roberts MFA Thesis Visual Component Artwork - Savannah ...

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