Sale! design t-shirts skullz

T-shirts design a gun in the hand is better...

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11,9×17,9 format teespring
Photoshop Ai File and Psd
RGB color mode
Smart Object
100% Layered

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• Giving students more room to rely on themselves does not merely foster selfexpression. Research and writing are integral and mandatory parts of the process. But don’t underestimate the importance of having students draw from their own experiences, their families, as well as their cultural, ethnic, racial, economic, and geographic backgrounds, and where they live now. • Emphasize the importance of image making as much as typography. Introduce students early on to a wide range of drawing techniques (beyond “graphic translations” and Department of Transportation icons) in order for them to discover their own way of mark making. Encourage or require at least one course in photography and one in video. Stress the importance of seeing from a specific point of view and doing whatever it takes to get there— climbing up on a roof or down under the floorboards. While picture research is important, discourage swiping images from the Web. The computer is an amazing tool, but it is also an addictive, quick-fix narcotic, especially for design students. • Whenever possible, I begin classes by wiping the slate clean of preestablished rules. Instead of teaching the dos and don’ts, I try to blow things open. In a writing class, students turn newspaper articles into dada poems. In a type class, selected letterforms are sliced, diced, folded, torn, remade into new compositions. In a book class, students transform a preexisting book. Then, starting from a blank slate, the students begin to confront the need for structure, conventions, ways of doing things—as discovering their own ways of working, one variable at a time. (For inspiration on starting classes from zero, read Arnold Greenberg’s1 Adventures on Arnold’s Island, a collection of essays on education. In it, Greenberg describes beginning a grade-school class with no tables and chairs. Quickly, students establish ways of acquiring and arranging tables and chairs. By the end of the semester, students develop their own system of governance, rules of operation, reward system, currency, priority over subjects in need of study, etc.) • Expose students to a wide variety of quality work in studio classes as well as design history classes. Avoid showing a lot of your own work and a lot of work that is of the same or similar school of design—this inevitably breeds emulation and sucking up. A more eclectic set of influences can inspire students and make them aware of what’s already been done, while providing no single stylistic path, causing students to rely more on themselves. Always provide context, analysis, and discussion when showing work. • And what about in graphic design history, contemporary practices, and studio classes? Go beyond showing the usual collection of design icons and movements by giving a serious look at the history of visual poetry/literature from ancient pattern poetry to William Blake, Mallarmé, and Appolinaire to modern poets and writers like e.e. cummings, Gertrude Stein, and Kenneth Patchen; the concrete poets, Situationist, Letterist, Samizdat, and Fluxus movements; word/image artists like Ed Ruscha, Alison Knowles, Arakawa, Jean-Michel Basquiat, Tom Phillips, and John Baldassari; contemporary visual literature practiced by writer/artists like Mark Danielewski, Johanna Drucker, Paul Zelevansky, Janet Zweig, Joe Sacco, Charles Bernstein, Keith Smith, Takayuki Nakano, Ruth Laxson, Tomato, Ian Hamilton Finlay, Richard Kostelanetz, Clifton Meador, Graham Rawle, and myself; graphic satirists and provocateurs like Shawn Wolfe, Ilona Granet, and Richard Tipping; text-based installation and public artists like Jenny Holtzer, Barbara Kruger, and Mark Mandel; activist graphics by dissident artist/designers like Gran Fury, the Guerilla Girls, and WAC; design interventionist groups like Designers Without Borders and WD+RU; interactive media designers like David Small, Deena Larson, Chemi Rosado Seijo, Mark Napier, Anne-Marie Schleiner, Margot Lovejoy, and Jim Petrillo; and performance-based designers like Laurie Anderson, John Cage, Robert Wilson, and Elliott Earls.Next