Sale! T-shirts design be the energy ....

T-shirts design be the energy ....

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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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If you are lost and decide to find your way
out of the desert by walking in a straight line, eventually you will return to the place
where you started. Because one leg is longer than the other, what you perceive as
moving in a straight line is actually forming a large circle. This is essentially a
problem of location. Unless we know where we are before we move forward, the
perception of making progress can be an illusion.
Most graphic design departments review their programs on a regular basis,
yet limited time and resources often make maintaining the status quo a priority over
change. The pressure to prepare students for a seamless entry into the workplace
makes it virtually impossible to invest time in experimental courses not directly
geared to professional expectations. This problem is compounded by the time
required to keep students and faculty fluent in current software. As boundaries
defining the role of graphic design continue to expand and dissolve, it becomes
increasingly difficult to identify a single point of departure. The only certainty is that
current conditions will increase in complexity. It is the responsibility of design
education to take a leadership role and develop a narrative that remains relevant
regardless of evolving fashion and technological advances.
Schools have used the positive attributes of the latest technology, but more
needs to be done to compensate for those aspects that do not facilitate students’
creative development. One of the most dramatic changes is that the physical
relationship between students and their work has been all but eliminated. This has
less to do with the final result than the experience of designing. A healthy design
process has a beginning, middle, and end. Most unique discoveries are made in the
time between the first sketches of an idea and the final result. The computer has
reduced this rich territory to a single point; the beginning and the end now occupy
the same space. What were awkward and often provocative first sketches are now
concealed beneath a surface perfection that continues to produce instant results with
the click of a mouse or a keystroke. The wonder, discovery, invention, and struggle
that come from the direct experience of physically working with tools and materials
are being replaced by choosing from a preconceived list of default menu items
Circling the Desert: The Illusion of Progress
William Longhauser
developed to mimic visual language formerly produced by hand. This turns the
students into spectators in a game of multiple choice.
One of the many questions raised by this new way of working remains
unanswered: In today’s high-tech environment, what is a studio? Prospective
students touring educational facilities today may find the graphic design studios
little more than empty rooms with long flat tables; the students can be discovered in
one of the many labs where computers are arranged in rows, like slot machines in a
casino. Unlike studios in architecture or fashion departments, which are alive with
materials and activity, these spaces feel anonymous and temporary. In such a passive
environment, important design issues become encumbered with technical trivia:
corrupt files, missing type fonts, laser printers lacking toner, and time-consuming
searches for ineptly marked files that require tedious opening of each one simply to
identify the content