New design t-shirts skull

design t-shirts what is love

108

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

More details

9000 Items

$9.00

More info

At CalArts, my colleagues and I, during recent years, have watched increasing

numbers of our graduates get snapped up by multimedia firms. Given the context numbers of our

graduates get snapped up by multimedia firms. Given the context

our graduates get snapped up by multimedia firms. Given the context

just described, this has made us increasingly nervous that the curriculum we’ve

provided somehow hasn’t prepared the students for the conditions they would find

upon graduation. For the second part of the Emigre essay, I tried to describe how to

make graphic design studies a more viable training for future designers. At that

time, I wrote that design would have to be redefined as a conceptual practice, while

graphic design would have to be more clearly identified as a specialty within it.

I suggested that in addition to teaching basic visual syntax, composition,

typography, and the other skills usually associated with graphic design education,

the following issues had to be added to the education of young designers to

strengthen their conceptual skills:

• More attention on “learning how to learn” • Attention to writing to facilitate conceptual and expressive communication • Study of the operations of verbal expression, rhetoric, semantics, and narrative and storytelling as part of the basic structure of communication • The grammar of film and film editing as part of the basic communication structure • The structures and narratives in games • Critiques of communicative systems as artificial constructs • An understanding of the social, cultural, and functional possibilities of real and simulated public and private spaces • Techniques of collaboration, teams, negotiation, and consensus building • The history of design expanded to include the social and cultural development of media • A study of fantasy, surrealism, pranks, simulation, bricolage, and other forms

of subversion as a stimulant to the possibility of a more entrepreneurial

approach to design

I presented this laundry list as the framework of a new and idealized design

curriculum. Life is not ideal, and curriculum plans are just starting places, but it

seemed important at that time to articulate the missing elements of design

education, especially since what seemed to be lacking was related to the uses and

theories of language. This bias against language in graphic design teaching is part of

our dna that we still carry from the invention of basic design courses at the

Bauhaus. Teaching based on modernism looked for universal images to substitute or

supersede verbal communication. In arguing for these new design “basics” in the

Emigre article, I claimed that educators should acknowledge the weakness in

graphic design’s tendency to focus on the visual translation of a concept, in

isolation, as a framework for understanding the potential communicative powers of

new media. In “That Was Then,” I did qualify that my assault on the visual did not

deny the critical presence of the visual, but I then went on to say that the

concentration on craft attached to visuality was, perhaps, what needed to be altered.

Both as a designer and an educator, this conclusion—the basis of my article—is

what I now think needs challenging itself.