I believe we have a responsibility as educators to provide young people with honest information so that they are empowered to make choices that reflect their values.
Dave Gottwald Assistant Professor University of Idaho
When I was in graduate school, it was occasionally remarked that widely revered English artist Eric Gill was “a bit odd.” However, it was not until I had to prep a new History of Typography course that I realized this was a euphemism for “monster.” I knew that his eponymous san serif is essentially the Helvetica of the UK—you can find everywhere from British Rail and the BBC to the Church of England and many children’s books. Gill Sans is the face that advises all to KEEP CALM AND CARRY ON.
The truth is that Eric Gill molested two of his daughters from their teen years onward. He exposed himself to children and to women who worked for him. He maintained a sexual relationship with his sister for most of his life, and he even had carnal relations with the family dog. We know this from Gill’s own journals, which were brought to light in a definitive biography published in 1989. Yet in the two design history texts assigned for my course, one is completely silent about Gill’s crimes, and the other glosses over it.
I believe we have a responsibility as educators to provide young people with honest information so that they are empowered to make choices that reflect their values. Even though I teach at a rural campus in a conservative area, my students were more prepared to hear and talk about Gill’s crimes than I had anticipated. I will present a case study outlining the material presented, including highlights from our lively discussion about what responsibility one has in using a typeface. I will share the posters they designed about the subject, and quote from their written responses—both about Eric Gill and his typefaces, and their assessment of how I delivered the material.
Social Design is the practice of design where the primary motivation is to promote positive social change within society. As the design industry evolves, so too must design education.
Social Design is the practice of design where the primary motivation is to promote positive social change within society. As the design industry evolves, so too must design education. Developing Citizen Designers is a compilation of case studies written by design educators to address the notion that design, and the teaching of design, can empower students to play a more an active role in improving the way they live, interact and communicate with each other and their audiences. My presentation will address how social design pedagogy can be developed to address concrete social needs utilizing strategies like design thinking, collaborative learning and participatory design process.
Elizabeth Resnick is a Professor Emerita, former chair of Graphic Design and current part-time faculty at Massachusetts College of Art and Design, Boston, Massachusetts. She earned her B.F.A. / M.F.A. in Graphic Design at Rhode Island School of Design, Providence, Rhode Island.
Professor Resnick is also an active design curator having organized 7 comprehensive design exhibitions, the last 4 on socio-political graphic design: The Graphic Imperative: International Posters of Peace, Social Justice and The Environment1965–2005; Graphic Intervention: 25 Years of International AIDS Awareness Posters 1985–2010; Graphic Advocacy: International Posters for the Digital Age: 2001–2012 and Women’s Rights Are Human Rights: International Posters on Gender-based Inequality, Violence and Discrimination (2016) investigating gender-based inequalities deeply entrenched in every global society.
Her publications include catalogs for the exhibitions, plus Developing Citizen Designers, Bloomsbury Academic (2016), Design for Communication: Conceptual Graphic Design Basics, John Wiley & Sons Publishers (2003) and Graphic Design: A Problem-Solving Approach to Visual Communication, Prentice-Hall Publications” (1984). She is currently working on ‘The Social Design Reader’ for Bloomsbury Academic (2019).
Professor Emerita, part-time faculty, Graphic Design
Massachusetts College of Art and Design
621 Huntington Avenue, T617
Boston, Massachusetts 02115 USA
Jason Tselentis Associate Professor Of Design College Of Visual And Performing Arts Winthrop University
In the classroom, design students who view documentary films such as Gary Hustwit’s “Helvetica” (2007), Douglas Wilson’s “Linotype” (2012), and Briar Levit’s “Graphic Means” learn about designers, the tools they use (or used), and the meaning behind their creations. Film viewings and class discussions offer perspectives for students to recognize the significance (or lack of significance) a designer and/or their design has in yesterday’s and today’s culture.
To understand and appreciate designers and their work in those films and others has merit, exposing students to relevant issues and influences. But what can design students learn from not only watching such documentaries, but also investigating the methods and principles used for creating them? In cinematic arts and filmmaking degree and certificate programs, film studies deliver a framework to appreciate and understand cinematic creations. It’s visual literacy for cinema, teaching film students to read and analyze movies in preparation for making their own movies.
Film studies and filmmaking could also enhance a design student’s skill set. How would identifying a researchable documentary topic teach students about design history and design research, as well as storytelling? Studying film is also a platform for criticism. What could design students learn from fictional cinematic works, investigating the ways designers have been represented as antagonists, protagonists, or mere set dressing? What would design students say about the stereotypical designer, as (sometimes negatively) represented in movies and on television?
“Towards an Understanding of Cinema’s Impact on Design Education” will present a motion picture and film study platform for design education that includes documentary films and more. It aims to demonstrate how a class (or classes) could shape design students into more well-rounded creatives, perhaps the next generation of filmmakers. And it proposes ways to mold them into capable and responsible critics or historians.
Read Amy Papaelias’ delightful synopsis of the panel discussion on Teaching Typography. Amy is Assistant Professor of Graphic Design at SUNY New Paltz and was one of the distinguished panelists at this past Saturday’s event at the Type Director’s Club.
Educators will discuss innovations, challenges and best practices for teaching typography.
As a mainstay of design, typography is a corner stone of most degree programs in visual communication design. Still questions abound. How and where typography is taught is as varied as its use in design applications. We invite you to join fellow educators in a conversation which will focus on how, where and when we teach typography. Our panelists will explore the role of typography in the continuum of design education and identify areas where traditional programs experience shortcomings and challenges. We will ask what fundamental skills should be taught and whether the way we are teaching typography needs to change in a screen-based world? Finally, we will ask the audience to participate in identifying specific skill sets and methodologies which should be part of type-centric design curriculum in the 21st Century.
The conversation will be moderated by Doug Clouse, President of TDC and Principal at The Graphics Office and Liz DeLuna, Associate Professor of Design at St. John’s University.
Type Directors Club
347 West 36th Street
New York, NY 10018
Saturday, April 1, 2017
Liz DeLuna Associate Professor of Design St. John’s University
Doug Clouse President, Type Directors Club Principal, The Graphics Office
Thomas Jockin Founder of TypeThursday Adjunct Professor Queen’s College, CUNY and Fashion Institute of Technology, SUNY
Amy Papaelias Assistant Professor Graphic Design SUNY New Paltz Co-founder of Alphabettes.org
John Gambell Senior Critic Yale School of Art Yale University Printer
Juliette Cezzar Designer, Writer Assistant Professor Communication Design Parsons School of Design, The New School
Educators discuss Graphic Design Programs at the Type Directors Club, Saturday, November 12, 2pm–5pm.
What challenges and obstacles do graphic design programs encounter today as they work to balance the multitude of critical thinking, and conceptual and technical skills needed to help students grow into thoughtful, adept and culturally aware design practitioners? How do programs housed in liberal arts institutions differ from those in art schools? We invite you to join educators in a conversation on the teaching of design in institutions with varied pedagogies and student communities.
Liz Deluna Associate Professor of Design St. John’s University
Mark Zurolo Associate Professor of Design University of Connecticut
Robin Landa Distinguished Professor Robert Busch School of Design Michael Graves College Kean University
Allan Espiritu Associate Professor Graphic Design Graphic Design Program Director Rutgers University
Dan Wong Associate Professor Communication Design New York City College of Technology, CUNY
Nick Rock Assistant Professor Graphic Design Boston University
Jessica Wexler Assistant Professor Graphic Design Purchase College, SUNY
Kelly Walters Assistant Professor Graphic Design University of Connecticut
Sponsored by AIGA/NY
Hosted by Type Directors Club
Saturday, November 12, 2016
Type Directors Club
347 West 36th Street, Suite 603
New York, NY 10018
Fine & Performing Arts
Baruch College, CUNY
“Eat Your Vegetables: Sneaking in Conceptual Thinking during Technical Instruction” is an experiential progression of graphic design projects that helps to introduce and refine the technical skills essential to professional practice. More important, it overlays other 21st century skills, adding pedagogical depth to the skill-building through an implicit layer of meaning-making, critical thinking, and abstract and symbolic thinking.
My introductory graphic design class is mandated to build the skills to communicate ideas and cover the essence of branding (a highly competitive game of attention-getting, recognition and trust), and the class is enriched by the addition of a critical thinking element. Students imagine, conceptualize, then filter and form allegiances to a random “theme word” assigned at the beginning of the semester. The challenge of deepening the development of this key word threads through 15 weeks of instruction, intersecting critical thinking with learning technical skills. This approach also allows the mimicking of a real-life designer/client relationship, using the theme word as a surrogate client. Students also learn and use tools for thinking in the curricular sequence, some borrowed from other domains such as the writing process of “word mapping”.
Attendees will learn, in this illustrated lecture, that the complexities of contemporary professional practice and the competitive global business context demand a critical and creative approach to foundational coursework––well-prepared hands, eyes, and minds.
Karen M. Cardozo, M.Ed., PhD Assistant Professor of Interdisciplinary Studies Massachusetts College of Liberal Arts
Some undergraduate institutions offer an interdisciplinary or special major where students integrate their interests and passions to design their own programs of study. In Finding Your Way in a Wild New World (2013), this method is recommended to everyone by social scientist and life coach Martha Beck. Arguing that social structures (including those related to work) are changing faster than conventional education or strategic planning processes can keep pace, Beck suggests that we can best navigate this rapidly shifting landscape by following our instincts and using all five senses in a more fluid, situationally responsive way. This dovetails with Daniel Pink’s thesis in A Whole New Mind (2006) that we have entered a Conceptual Age in which the most successful enterprises will be “high touch” (providing face to face or interactive services that cannot be outsourced) and/or “high concept” (tapping the creative, visual capacities of the right brain in addition to the analytic, verbal capacities of the left brain that are most elicited by educational systems). Barbara Sher (2006) agrees, adding that integrative or interdisciplinary orientations of the polymath types she calls “scanners” will be particularly in demand. Design communication serves as an ideal nexus for all of these insights.
Inspired by Stanford’s Design your Stanford and Design Your Life courses, this presentation argues that 21st century pedagogy should relinquish an outmoded “information age” attachment to content coverage in favor of more self-reflexive learning in which students apply open-ended and iterative design principles to fully maximize their own curiosity, inclinations and opportunities—in college and beyond. As a concrete case study, we’ll look at MCLA’s Interdisciplinary Studies (IDST) program as helpful “design your major” intervention, and present a scaled-up counterpart in life design from one IDST World of Work course, whose final research project requires students to design their lives in two alternate universes: one, the life they think they are planning and the other a path that might unfold from a different point of departure and in response to unpredicted setbacks, risks taken, or plain dumb chance. The resulting insights reveal that while the future is unpredictable, the value of design thinking as a method for navigating the unknown is quite clear.