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Preview: designed


Published: 2007-02-03T11:47:44-05:00


Using What We Make


Students have been designing with the aid of a computer for over a decade and the shift from hot-press illustration board, pencil, and Rapidography has resulted in a disconnect from what is designed and how it came to be. This is not to cherish the good old days and bemoan the new but to underscore the need to reflect on what it means to drop this media on a student’s desk.

Social Us: Graphic Design Education Futures


Leveraging and further defining “socially-constructed education” both online and face-to-face is the step beyond the step we find ourselves considering currently in graphic design education. This is where we begin to use what we make and practice what we preach. It may also have us begin to follow the social and collaborative aspects of design that we profess as the future of all design disciplines.

Experimental Text for Screen


This is an outline for one of my courses. It is an advanced typography course focusing on the range and role of time-based texts on screen. Screen-based typography is positioned as generally counter to the development of cinematic and televisual traditions in which both making and reading privilege image and spoken word. Students bridge narrative concepts of page and screen media by exploring distinctions between spatial text/image synthesis and time-based text/image mutability.

Introduction to Temporal Contrasts


We graphic design types spend a great deal of time considering/teaching/making spatial contrasts. To balance space and time, here is an abstract I submitted outlining approaches I take to teaching an introduction to temporal contrast. Yes, it is all print-based—this prepares for time and motion studies while integrating ideas of print.

The 3 in the 2 and the 4: Graphic Design and...


Graphic Design is becoming a common [essential] language for all designers and artists. Of course each discipline has its own take on the page, book, or poster, but aside from these vernacular forms of graphic design found within, accepted, and codified by Architecture, Industrial Design, etc., what might be the expanded role of 2-D and 4-D visualization and Graphic Design within the design disciplines?

Adding More than More/Less/More


Vector leaves and budding vines, rainbow gradients, supermodels tucked in between it all—this hyper cool vector/pixel haberdashery is everywhere and is going nowhere. You have to give it up for the radical craft in the work of Brand New School, but enough already—they did it. Adding layers, adding more, simply adding—enough already and, yes, we can do the nil thing too. A few years back (2000-04) we had our old new-modernist, Helvetica, chill-out when doing nothing was the preferred and now the gluttony again. Yes, there have been attempts to intellectualize it by dropping it all into info space—chartifying, infographisizing, mappifying—but that just reads like putting on the smart glasses to look the part. The frequency increases and the style cycles collapse—more/less, less/more—it matters little in how the distinction is made—it is all the same. Please, tell me you hope more for your isometric pixels than either on or off.

It Will All Be Over Soon!


The AIGA National Conference this year had one very un/fortunate event which marked the continuing self-destructive nature of graphic designers. There on stage for all to see was the tragic comedy of graphic design which wallows in self-pity while begging for universal respect. Tee-hee-hee, look, I paid $99.99 so I can puppet a mindless, fellow graphic designer through meaningless iterations of a meaningless logo. Why? So I may make a point—the point that I have no more respect for my field of study than those who ask why anyone would ever go to school for four whole years (or more) to learn such a thing as design.

Time Management


Our ability as designers and teachers to understand and manipulate time has never been more important. [insert giga superlative, angst-ridden examples of ‘our day and age’] This is not the sense of time we find working in AfterEffects or Final Cut, but the sense of punching in and out of a time clock—the sense which demands a student get it figured out in a duration defined in a multi-week assignment, semester, or 4 years.

The Glow and Glare of Software


How does one extract teaching digital media, tools, and processes from the host of variables one balances in becoming a graphic designer worth an agreeable mound of salt? One cannot—must not.
. . . . . . . . . . . . . .
Originally posted on April 6th, 2004, I’ve brought it back to the fore so we may chew on it a bit more.

Glad to see the Support, AIGA


Below is an email (May 05) I sent a few friends concerning one of AIGA’s e-newsletters. What is AIGA’s goal in publishing such a description when it goes counter to established AIGA initiatives? Glad to have other perspectives but this garbage was going to students and it offered no other angle. That is the way to invest, eh?

Word/Letter Counts Need to Count


I get the vibe that no one works from a word count anymore OR even thinks about word count as a step in composition. Who was the last AD to spec a word count to a writer? What team got together, looked at the content, and considered the physical dimensions of that content to the degree that words and letter were counted?

Brief Assignments


I don’t recall an assignment from my undergraduate studies that successfully synthesized an exploration of form, process, and research methodology with content that truly enriched my depth and breadth of knowledge. In response, assignments went through a major overhaul once they reached my desk. I learned to set parameters and goals on my own, as well as seek out what I felt to be meaningful, engaging content.

Strengthening Conceptual Skills in Graphic Design Students


Advertising, so the maxim goes, is the mother of design. This rings true even if we haven’t spent a lot of time exploring the historical roots of the field. And most of us can also agree that graphic design is fundamentally about persuasion: intellectual, logical, emotional and aesthetic. We intuitively grasp that even when a piece of design is not hawking a particular product, brand or lifestyle, it is always hawking an idea or making a pitch to the emotions.

Choosing a Path


To a faculty member in a ‘research one’ institution or any other hall of higher learning, what constitutes a viable research track in graphic design? Do you feel you should be positioning your research so that it has a direct impact on how and what you teach?

Commence Writing


I encourage you all to write a commencement address for the following reasons. First, you can not be depressed about what your students are failing to learn.