Graphic design is an artistic field which, in most cases, involves a designer and a client coming to a mutual agreement over some form of work. This work is usually completed with procedures from programmers, sign makers and printers who are geared toward conveying a given message to the specified audience. Graphic design can also be used to refer to several professional and arty fields that major on visual presentations and communication. Different artsitc tools like symbols, images and words are usually combined to represent a particular idea or message (Feldman, 2006, p.106). A graphic designer can make use of visual arts, page-layout techniques and topographies to produce appealing results. The most common uses of graphic design include (but are not limited to): websites, advertisements, branding and identity logos, publications and product packages, among many others.
In today’s world where artistry is highly influential and reverently regarded, there is a dire need for quality graphic design education to be provided while methods of bettering its present, as well as its future, aspects are intermittently established (Busch, 2011, p. 3). Usually, art teaches quality skills of solving problems and these skills are important in coping up with the never-ending challenges of our ever-changing world (Steers, 2007, pp. 144-146). Modern learning which, for a while, has been viewed in terms of writing and reading has today been furthered by learning provided through various forms of art—graphic design being one of them (pp. 147-150).
This integral role played by quality art is, essentially, what has propelled the need to come up more artistic, imaginative and creative way of solving the existing problems. According to Antich (2011, p. 3), in order to cope with these current problems, graphic design teachers should try to find connections between the principal classroom instruction modes and the diverse virtual arts. Once this connection is established, better ways of reaching graphic design students (to be specific) and art-lovers (in general) can be put in place thus helping to positively revolutionize the world of art (Gradle, 2007, pp. 407-409).
As is commonly known, art plays a monumental role in teaching us about the past, helping us understand the present, and enabling us to prospect circumspectly for the future (Antich, 2011, p.3). Advisably, graphic design teachers should therefore ensure that learning curricula entail lessons, themes and concepts that encapsulate the aforementioned endeavors.
On the other hand, students should also strive to be efficient learners by being exhaustively extensive in learning endeavors by studying beyond their normal class work. Visual learning (which is the backbone of graphic design) is a continuous process and learning can even take place by making an observation on the road while walking. By tapping into the potential of such rich educative avenues; the learning which takes place in class—which is mostly theoretical—becomes actualized, thus bettering the learning process (Simpson, 1996, pp. 260-264).
The process of art learning is an experience that all people ought to have. This therapeutic process and its education hold the hope that art can help people in a myriad of ways. For example, art can help emotionally unstable students to cope with their emotional issues in a positive manner. For this reason, it is extremely necessary for art teachers to be highly qualified and ensure that they are experts in their respective fields. They ought to horn their art skills constantly. They should also ensure that they have a passion for both educating their students and a passion for art in general (Feldman, 1996, pp. 97-100). These skills will greatly help in facilitating efficacy whenever they teach their students
Moreover, graphic design teachers should ensure that they have the self-understanding by examining their visual world and teaching their students to do the same. A good way of doing this is by creating a participative curriculum that encourages students to research on matters that relate to social and visual phenomena. A Project like contemporary art, which is captivatingly interesting, encourages the notion of the natural, real and normal aspects of life thus orienting simple understanding of social construction in all these aspects (Neperud, 1995, pp. 25-30). Put simply, art curricula should be developed in a manner that they promote self discovery and self expression—which are elemental prerequisites for good graphic designers.
Photography and visual art curriculum should also be promoted early, like in high school, for prospective art students. The earlier students get exposed to the fundamentals of art, the better it is for them since they are able to familiarize themselves with concepts that will help them in their career paths. Admittedly, a curriculum that promotes self-expression is challenging to develop. However, with the right mechanisms in place, this can be effectively done without diluting the quality of work done (Steers, 2007, pp. 145-150). As a key rule, the quality of artistic work should not be sacrificed under any condition; not even for age or criteria.
In studies done on investigating identity unit, experimental techniques have notably moved from conventional photography in dark rooms to use the of Photoshop and digital cameras. The success of this unit relies on factors such as materials and artists. Teachers should therefore ensure that , when investigation of identity unit happens in their photography classes, the key factors, like those mentioned above, are indiscriminately considered and professionally put in focus (Antich, 2011, pp. 4-8).
In conclusion, art teachers should understand the needs of their students—which is a vital element for the success of both the teacher and the student. In doing so, they should ensure that they develop curricula that are inspirational, thought-provoking and interesting basing it on the needs of the students (Fehr & Keifer-Boyd, 2000, pp. 5-15). Even more importantly, art teachers are responsible for introducing their students to art in schools hence they ought to be good role models, activists and coaches for art education. Proven techniques like occasionally rewarding good students while punishing the unruly ones can also go a long way in bettering the learning process. In the world of art, it is such little things that count and matter invaluably.
References
- Antich, D. (2011). Investigating identity. CFA AR620, 1-57
- Busch, A. (2011). Expressing identity through artistic choices 4th grade art- semester 1. Boston University, 1-31.
- Neperud, R. W. (1995). Context, content and community in art education: beyond postmodernism. New York: Teachers College Press
- Fehr, D. E., & Keifer-Boyd, K.T. (2000). Real-world readings in art education: things your professor never told you. New York: Falmer Press.
- Feldman, E. B. (1996). Philosophy of art education. Upper Saddle River, NJ: Prentice Hall, Inc
- Gradle, S. (2007). Ecology of place: art education in a relational world. Studies in Art Education, 48 (4), 392-411.
- Steers, J. (2007). The ever-extending art curriculum-is it teachable or sustainable? International Journal of Education through Art, 3(2), 141-153.