Problems at the Sophomore level and first-semester
Junior year are more effective when the work is self-paced
without deadlines other than the semester's end. Particularly
with perceptual studies and formal values, if students advance
before they demonstrate understanding or have acquired the
necessary skills, it becomes a meaningless experience. Also,
self-pacing permits more experienced or talented students
to move forward without waiting for slower students to catch
up. It allows both quick and methodical students to work without
undue pressure. The problem for students with deadlines is
the deadline becomes the objective, rather than the understanding.
It is far better to wait until the second semester of the
Junior year and throughout the Senior year to enforce the
discipline of deadlines.
procedure borrowed from the Basel program was having students
keep progress books. Students were required to retain explorations
or references, sketches, refinements, roughs or notes and
bind them into a book at completion of the project. At the
introductory level, these books were very revealing to students
regarding improvement in handskills, growth in understanding
and their general advancement in the program. Learning became
tangible, and students reacted with a sense of accomplishment,
greater commitment and increased productivity. We had equal
success with progress books at advanced levels. Students could
review the design process from beginning to end. Also, the
books were an asset to the portfolio if an interviewer wanted
to know how a project evolved.
quickly learned that students were more successful reaching
objectives if the focus of problems was uncluttered. Teachers
often try to accomplish too much within a single problem.
Difficulties with materials and media can distract students
from educational objectives. For instance, Albers taught introductory
color classes with color packs because he wanted students
to concentrate on color, and not have to struggle with techniques
of mixing paint and applying it to paper at the same time.
Objectives are kept clear by establishing limitations. At
the early stages of design education, limitations by the teacher
are the most restrictive in terms of scope, tools and materials.
As students move ahead in the program, limitations become
increasingly flexible and there are less of them. Setting
objectives, combined with limitations, which are conducive
to student focus, usually results in substantial educational
vs. Perceptual Learning
In this country, there has always been controversy
regarding the value of theoretical studies in professional
education. Whenever working designers visited our program
to lecture or critique, they showed interest in student perceptual
work. Invariably, they would ask, as tactfully as possible,
why we did not consider adding type to the imagery, make a
package design out of it, or in some way convert it into a
many regional Graphic Design programs are overly influenced
by local professionals. Ties with the professional community
are important for the program and for students, but there
has to be selectivity in choosing professionals as educational
advisors, and balancing their input with educational integrity.
Designers might make a living as illustrators, art directors
or graphic designers, but it is insufficient grounds for assuming
they will be beneficial mentors for students, or that they
can effectively teach.
designer tends to define the profession by what he or she
does. Design practices vary from studio to studio or from
one segment of the profession to another. It is impossible
to teach professional practice by simply doing applied problems.
am not proposing an Ivory Tower educational program for Graphic
Designers. Students must have technical information and abilities,
knowledge of professional practices and contact with working
designers who are good role models. In school the goal is
learning; professionalism is achieved on the job. It is important
to aim the program at the highest levels of the profession
rather than directing it toward employment opportunities within
the immediate community.
school, professionalism can be reinforced in student attitudes,
punctuality, reliability, demeanor and work habits rather
than by problem content. Contrary to professional practice,
in school the process by which students move from beginning
to conclusion of a problem is equally as germane as the end
result; it is a learning situation. Devoting the last semester
of the Senior year to putting together and polishing student
portfolios is a waste of precious time. Teachers should advise
students on their portfolios, but there is no need to create
a class for this purpose.
Problem relevance affects student interest and productivity.
This mainly applies to Junior and Senior level problems. During
the years of student activism in the 1960s, we gave many projects
dealing with zero population, environmental issues, drug abuse,
social or political movements and contemporary music. By relating
problems to student interests, we went through the period
with few difficulties and were able to maintain a strong program
and reasonable discipline. If teachers are sensitive to student
interests and concerns, classroom productivity can be improved
by selection of relevant problem content.
teachers often reflect personal values and educational priorities.
Alvin Lustig taught that the solution to any design problem
lies in an analysis of the problem. He also identified Graphic
Design as visual communication. Therefore, there were criteria
based on analysis, interpretation and communication. Lester
Beall wrote a comprehensive statement which was handed out
to students as part of the problem presentation. In addition
to definitions and limitations, he included background information
which contained irrelevant facts to mislead students. He expected
students to sift the information, ignore the irrelevant, and
identify pertinent facts as the basis for the design solution.
Under Beall's direction, ability to analyze was a criterion
in evaluating student work.