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¶ … Andrew Blauvelt and Tim Plowman consider graphic design and product design as reflecting a culture. The authors both urge designers to take a more critical approach to design so that products are not isolated from their contexts. Only the cultural context can provide designs and objects with meaning. In "Towards Critical Autonomy or Can Graphic Design Save Itself?" Blauvelt suggests that graphic designers take a more critical stance toward their profession. Designers need to act independently of consumerism. Similarly, Plowman claims that graphic designers need to approach their work more like anthropologists do in the article "Ethnography and Critical Design Practice."
Both Blauvelt and Plowman use the word "critical" in their titles. The authors use the word critical in generally the same way. Both Blauvelt and Plowman use the word critical to suggest a critique of the graphic design profession, and both authors also use the word critical to mean "urgent." The theme of both the articles is that designers must reclaim their arts and not be slaves to consumerism.
If, as Plowman suggests, the creativity of the user is taken as a central concern, then graphic design can take on numerous forms. New technologies allow increasing user control over a designed product. Honoring user creativity means allowing all products to be used differently by different people. Plowman would state that a flexibility of graphic design is the best way to create a critical design practice. Individuals in a diverse society should be able to use a graphic design in unique ways. Blauvelt would agree that a flexible design creates the urgent "critical autonomy" that can save graphic design.
Blauvelt and Plowman write about the lack of creativity that has become a part of the graphic design profession because of the need to product marketable goods. Unless a product can be mass marketed, it is not created. The authors claim that the overly materialistic view of graphic design is harmful not just to the profession of graphic design but also to society as a whole.
References
Blauvelt, Andrew. "Towards Critical Autonomy or Can Graphic Design Save Itself?"
Plowman, Tim. "Ethnography and Critical Design Practice."
Graphic Design The objective of this work is to examine the knowledge needed by the graphic designer both historically and in today's modern world. Swanson (2010) writes in the work entitled "Graphic Design Education as a Liberal Art: Design and Knowledge in the University and the 'Real World'" states "Though hardly homogeneous, the vast majority of graphic design programs, whether in vocational schools, art schools, or universities, are, at least in concept,
H1base.com/). The U.S. Government offers the H1B visa to enable highly skilled International Workers and International Students, from all over the World, or already in the U.S.A., the opportunity to legally live and work in America." The process of obtaining one of the H1B visas involves many steps (H1B Program (http://www.h1base.com/). A to obtain an H1B visa, an applicant must 'first' find an H1B job with an H1B visa employer company in the
The text that the scribe had to deal with was meant to transmit ideas and feelings, but the most important thing were the ideas. Nowadays, the role of the graphic designer is to produce an emotion which is strong enough in order to make the idea even stronger. People who, in the Medieval times had contact with a text "produced" by a scribe were supposed to learn. The "text"
At this level, focus should be on meeting the needs of the graphic design industry. It is at the graduate level where intense discussion of theory should be developed. I agree with Frascara on this point. In most disciplines, such discussion is typically conducted at the graduate level. The average graphic design student can benefit from this work where applicable, especially if Frascara's proposed reference centers are created. One of
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Ongoing turmoil actually led to the eventual development of a wide variety of distinctly Mexican typefaces and other graphic features, many of them collected and/or created by Ignacio Cumplido. This graphic designer (before the term had been coined) and printer created graphics and fonts that were at once bold and striking yet exceedingly simplistic and direct, providing hundreds of different varieties and endless combinations for use on posters and pamphlets