Jamie Turpin

Thesis Statement
Traditional undergraduate graphic design education needs to evolve to prepare future designers to succeed in a professional environment where discipline boundaries have crossed demanding an integrated design approach.

Outline
I. Introduction and thesis statement – Traditional undergraduate graphic design
education needs to evolve to prepare future designers to succeed in a
professional environment where discipline boundaries have crossed demanding an
integrated design approach.

II. History on Traditional Graphic Design Study

III. Importance of Traditional Designers moving across Disciplines

IV. Exploration of Multiple Perspectives on Complex Problems
A. Specialized Designer – Discuss Research and Design Outcome
B. Crossover Designer – Discuss Research and Design Outcome
C. New Generation of Design Thinkers

V. Discussion on Evolving Design Education
A. Curriculum
B. Universal Design Principles
C. Technology
D. Proposed Learning Outcomes

VI. Conclusion

To start off, my interviewee lives in Denver, Colorado. So, last week I reached out to Jennie Kinsler to ask her personally over the phone to see if she had availability and was willing to partake in an interview that was in relation to my thesis. She concurred so we set up a date for the following week, which actually ended up being yesterday, Wednesday February 20.

On Monday, February 18, I finalized my thesis questions and emailed Jennie a copy of the questions so she could prepare for them mentally and not be put on the spot when we met later on in the week. Jennie and I planned to converse on Wednesday evening. I called her and before beginning the interview, I made sure she had open availability to begin the interview. (I did this to show respect of her time and to make sure she did not get caught up in another project or such.) Moving on with the beginning the interview, I spoke of the question and in return she responded and yet we were able to have dialogue on the subject matter, which allowed us to expand some areas of the questions a little further. One question at the end of the list, she did note for further clarity on it to make sure she read it clearly. In return, I was able to expand the intent of the question, which in return led to further discussions. Overall, the interview flow and meeting went rather smooth. I will note, the interview questions did cater to Jennie specifically since I was aware she was business owner and her background in design.

Side note: As a reflection on the questions for the interview, they were phrased in a manner that weren’t leading or declarative of my own opinion about the subject. I always let Jennie lead and provide her intent before I chimed in asking for further lucidity.

REFLECTION ON THE PRIMARY SOURCE HUNT

To begin, I started my approach for the primary source hunt by reaching out to the Savannah College of Art & Design’s online librarian. I chatted live with the librarian and stated I needed help locating resources for, “Henri Matisse, early exhibition of Modernist art in New York City, 1911.” In return the scad_ref noted: “If you’re looking for information on the specific exhibition, you may have more luck with articles in our databases.” So I provided better clarification on what I needed help with. In closing the conversation with the online librarian, she noted, “I would try searching the JSTOR database. It has articles from a wide variety of sources that are all searchable in one place. To access the database, start from the library homepage (http://library.scad.edu). From there, hover your mouse over “Article & Image Databases” and click “Browse Databases by Title.” Find JSTOR in the list, and click on it to open a new window for the database.”

The advice I would offer my peers about locating primary source documents; perhaps don’t start with the local college/university but branch out to the public libraries such as Library of Congress or New York Times Archive. Places that invest in providing accurate information for the public to utilize and information that is beneficial for the users to learn from.

During my hunt, I became very intrigued with the old New York tribune clippings on Henri Matisse. It’s absolutely amazing on the mint condition the newspaper articles are in, the legibility and yet the intent was strongly distinguished. The Library of Congress, I’ve used in the past for research but yet was new to experiencing the Chronicling America – Historic American Newspapers.

My Thesis is on the Importance of Space

My Thesis Statement is:
Conceptualizations of space are vital to the modern rhetoric of graphic design.

I believe graphic design of today and the future needs to be more conscious of space. Acknowledging the principle of space is very critical, what it signifies–responds to the needs of those who inhabit the space, as well as to formal and aesthetic considerations. Interior architecture offers an insightful perspective into an increasingly important consideration in design – space – and the graphic design profession as a whole can benefit and learn from this insight as other disciplines have come to recognize the significance of cross pollination and learning from other areas. With an interior architecture background in education and practice, I believe that the graphic design discipline should pay more attention to space. It should be a part of the graphic design lexicon more so today because of digital technology and spatial contexts on the screen, more than just the meaning of space; it is also a consideration of space with respect to the safety and comfort of the user.

MY THESIS IS ON THE IMPORTANCE OF SPACE TO THE GRAPHIC DESIGN PROFESSION
It is very important because it informs both the form and function of graphic design.

First, what is the meaning of space?
A. Space is three dimensional (It is all around you)
B. Space is an experience (It is invisible)
C. Space is interaction of functionality and form (It is often what you don’t see)
Space is a fundamental purpose for design
D. Environment (But it has a lot of bearing on you)
E. Intuition (Consciously and unconsciously)
F. Space is a three dimensional experience where functionality and form get to interact together in an environment. (Define space)
G. Now, when we think about space defined as such (xxx) and we look at form and function

FORM
These are some of the key points about why space is important to form
A. Form is either two dimensional or three dimensional
B. In form, space is important to experience
Form analysis examines how two and three-dimensional forms creating a feeling of space
C. Form is shape or mass that defines an object in space
D. Perception
Form is a visual language

Properties: Shape, Size, Color, Texture, Position, and Orientation

FUNCTION
These are some of the key points about why space is important to a consideration of function in graphic design
A. Function has a purpose or use for an object in a space
B. Function is an experience
C. Function is how forms move around the space
PRINCIPLE: Shape of an object (form) should be primarily based upon its intended function or purpose
D. Movement that provides a solution

This is where I am currently at with the development of my thesis topic:

The broad concepts of design education have elapsed due to the specialized disciplines limiting the creative output and acceptance of the parallel connections between the design disciplines. As crossover design disciplines emerge; multidisciplinary designers and universal perspectives are formed which alter the design understanding within a space. My thesis will reflect upon how multidisciplinary design and universal design process can transform users experiences as they relate to the new meaning of form, function and the visual message within a space.

Potential Candidates to Interview
The intent is to gather insights from a mixture of design disciplines along with people who have professional experience working in the fields and/or teaching at academia.

Devin O’Bryan
Professor O’Bryan has ample expertise in digital environment, user experience. He has the ability to bring two different perspectives to the table – graphic design (2D) and website design (4D).

Joe DiGioia
Referencing Professor DiGioia’s background, he has some key elements that would help benefit my thesis. Such areas are; design thinking, design methodologies, 20th century design history, typographic form and function, design education and design & culture.

Rod Troyer
Professor Troyer teaches at Kansas State University and has a Masters Degree in Interior Architecture from University of Oregon. Troyer can provide insights on both the practice and education.

Carolyn Thompson
Professor Thompson taught at Kansas State University for eighteen years as an Interior Architecture and Product Design professor, when she took semesters off – she would work at a design firm in Denver, Colorado. Thompson has an M.Arch degree from Columbia University.

Helen Armstrong
I first met Helen Armstrong when I introduced myself to her via LinkedIn during my winter term at SCAD in 2011. I used an article of hers for a project in GRDS709 http://www.helenarmstrong.us/2012/07/congrats-jamie/. Throughout my thesis research, I’ve noticed her cited in a couple of articles on her beliefs in her book Graphic design theory: readings from the field.

Don Gore
Don Gore was the VP of Creative at my past employer. What is so amazing about Gore is he is a self-taught designer. He has an associate degree in architecture and a bachelor degree in business management. During the 1970’s, Gore worked as a draftsman at Black & Veatch learning the core values of architecture while in practice. Check out some of his work – http://www.flickr.com/photos/dgdraws/ Gore can provide insights on practice.

Jennie Kinsler
Jennie Kinsler and I went to K-State together. Kinsler has a bachelor degree in Interior Design, has worked in Dallas, Texas at RTKL and CSD Architecture. Moving to Denver, she decided to open up her very own interior design practice called Kinsler Interior Design (KID). Kinsler can provide insights on education and practice.

Preliminary List of Questions to ask for Interview:

1. How many years involved in industry – (total years = education, practice or academia)

2. How would you define your experience in the profession?

3. How many years practice in the field–

4. How would you define your design process –

5. When working in the profession, did you feel you had a specialized job or could you carry a project from point A – Z?

6. Do you feel your design process applies to other design disciplines –

7. Do you feel we need to go back and reevaluate the universal principles of design – to where designers were diverse generalists?

8. In early 1940’s – late 1970’s, Charles Eames touched anything and everything related to design – architecture, interiors, environments, products, furniture, film/movies, photography – he provided a multidisciplinary nature of his design practice. (To name a few) This applies to Frank Lloyd Wright, Michael Graves, Frank Gehry, Alexander Ghirad…

What do you feel stopped this? Meaning altered the broad concepts of the universal design principles and implied that designers have a specialized role.

9. Do you see any parallel relationships between the different design disciplines?

10. Why don’t designers today approach and understand design with the understanding that it can be
applied to anything and everything?

I’ve revised my thesis topic to provide better clarity of my intent. Here is the latest version:

The broad concepts of design education have elapsed due to the specialized disciplines limiting the creative output and acceptance of the parallel connections between the design disciplines. As crossover design disciplines emerge; multidisciplinary designers and universal perspectives are formed which alter the design understanding within a space. My thesis will reflect upon how multidisciplinary design and universal design process can transform users experiences as they relate to the new meaning of form, function and the visual message within a space.

I’d love to hear any further thoughts or insights that I might have overlooked.

Also, I wanted to share some of my research with you:

I’ve dug a little deeper on the term Cross Over Designer and have discovered no one has really used this term in the same manner I am.

This is what has been used –
1. Third Culture (designers of this generation transform modernism and culturism)

2. Multi Disciplinary Design Optimization – references “Cross-Over” but do not state that this is what the designers are or indicate it as a possible design discipline.

3. Cross-Disciplinary Creativity

4. Crossover – in relation to left brain, right brain. (merging business minds with design)

5. Critical Dimensions of Graphic Design

6. Designers of Future – New Makers – physical & social environment that cross talk and some critique among makers.

7. I did come across a The Dimensions of Graphic Design written by Robert Harland (lives in UK). It seems that he believes in a similar idea that I do however has a narrow perspective on his belief. Basically he is only looking from it through the eyes of a graphic designer in which I kind of have one other perspective to add to the equation with my Interior Architecture/Design background. He has the right idea about it but doesn’t build the relationship of it. I think the Visual Thesis will really reinforce my thesis idea too…

-jamie

The Structure of Design Revolutions:
Kuhnian Paradigm Shifts in Creative Problem Solving

In the article, “The Structure of Design Revolutions: Kuhnian Paradigm Shifts in Creative Problem Solving” (2010) Nathan Crilly denotes the parallels between the creative design progress and scientific discovery.

Crilly organizes the thesis into four sections. He began by introducing the creative design progress and it’s foundation. Which reflects him to mention Kuhn’s account on the structure of scientific revolution along with his influence on the paradigm shifts. In return, this leads Crilly to exemplify the connection between scientific discoveries and creative design along with its support for the structure of the creative design progress and it’s nine propositions. Which concludes, him mirroring upon his initial argument.

Crilly’s intent is to convey the structure of scientific discovery and creative design progress in order to aid reflective practice.

Nathan Crilly’s approach for articulating his argument concerning scientific discovery mirroring activities of creative design along with the support of the creative design progress and the nine propositions was delivered to the audience in an inclusive manner that allowed them to visually form the structure in their minds while connecting with the language.

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Resources

Crilly, Nathan. “The Structure of Design Revolutions: Kuhnian Paradigm Shifts in Creative Problem Solving.” The MIT Press. www.jstor.org.library.scad.edu/stable/20627842 (accessed January 27, 2013).

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Additional Resources

d’Anjou, Philippe. “Beyond Duty and Virtue in Design Ethics.” The MIT Press. http://www.jstor.org.library.scad.edu/stable/20627845
(accessed January 26, 2013).

Maeda, John. “John Maeda: How art, technology and design inform creative leaders | Video on TED.com.” TED: Ideas worth spreading. http://on.ted.com/Maeda (accessed January 26, 2013).

Van Der Merwe, Johann. “The Magic of Three.” Academia. http://www.academia.edu/249499/The_magic_of_three
(accessed January 27, 2013).

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As I mentioned in prior posts, that I’ve taking a couple of steps backwards to dig deeper into my thesis idea. After many hours at the Kansas City Public Library, phone calls with professors, bookmarking more articles, reading more notes, I’ve come to these three ideas for my elevator speech.

Thesis Topic 1
I believe the universality of design principles were articulated within our discipline as specific bubbles that created a narrow, specialized perspective on design. As crossover design disciplines emerge; multidisciplinary designers form, universal perspectives are expressed and environments exemplify new design behaviors within a space. My thesis will explore the relationships between design education, crossover design and how behavioral design advocates the transformation of the space.

Thesis Topic 2
My thesis will explore the relationships between design education, crossover design and how behavioral design advocates the transformation of the space. Multidisciplinary designers approach form, function and environmental as a universal perspective that relies on the knowledge of design education with broader concepts and design fundamentals. I believe that all design environments run parallel to the different disciplines that allows the end user to connect and experience design in an unexpected manner.

Thesis Topic 3
I believe the universality of design principles were articulated within our discipline as specific bubbles that created a narrow, specialized perspective on design. However, today as crossover design disciplines emerge; multidisciplinary designers and universal perspectives are formed which alter the design behavior within a space. My thesis will reflect upon how multidisciplinary design and universal design process can transform attitudes and behaviors as they relate to the form, function and visual message of a space.

Here is a another round at mind mapping for my thesis topic based on a couple of discussions with SCAD professors and concluding that my thesis idea needed a stronger back bone in order to move forward in a successful manner.

Elevator Pitch – Round One

Message One
I believe intertwining graphic design and interior architecture alters the end results of a visual message in an environment. Therefore, I want the end user to understand and experience how the form and functionality of design alters the design behavior in a space. My thesis will communicate how constructing the visual form transforms the message.

Message Two
I believe intertwining graphic design and interior architecture alters the end results of a visual message in an environment. Therefore I want people to understand and experience how altering the form of 2D design changes the functionality of the design behavior in a living space. My thesis will reflect on the relationships of form, meaning and behavior.