NSU Fine & Graphic Arts

A design program should prepare students with not only the technical skills utilized by contemporary designers, but more importantly the conceptual skills required to effectively solve communication problems. It is the problem solving aspect of graphic design that differentiates it from many other creative pursuits.

Students should also recognize the significance of choosing graphic design as their major course of study. As does any creative discipline, design requires a commitment to excellence and the understanding that design should not be viewed purely as a financially secure alternative to painting or sculpture. This is not to say that interest in other areas should be discouraged, on the contrary, but that design majors should realize the benefits and requirements of their commitment to design including development of portfolio quality work.

Graphic design requires not only the understanding of fundamentals, but also the willingness and desire to explore subjects and theories outside design. Communication problems rarely involve the subject of graphic design itself, but rather science, history, politics, business and other fields. Knowledge and understanding of project subject matter is required in order to achieve a sound solution. Furthermore, successful design should result as a conclusion of process’ that focus on syntactic structure and the semantic result. Successful work will contain elements that have meaning and relevance to the subject at hand in order to achieve results that reveal depth, detail, and demonstrate understanding of the design problem. Therefore, a graphic design program should include not only the study of aesthetics, but also the development of graphic design as a cognitive exercise.

Graphic design should also be promoted for what it does. Designers can and should work within a community to support personal interests and concerns. The university setting provides an environment where faculty and students can generate interest and understanding of events, academics and community, while simultaneously raising awareness of the value of design. The university atmosphere should also be a place where students can experiment with their work, not simply recreating what they know and see but pushing boundaries and finding new solutions.

A commitment to design excellence requires dedication to experimentation and forward thinking. Hierarchal structures, be it the professional environment or the university, often encourage conformity and compromise of concept and aesthetic. More simply, the fear of risk. Though not requisite to be intentionally avoided, pleasing peers and/or superiors in the workplace too often becomes the primary goal, rendering uninspired and ordinary results; superficially beautiful yet conformist and tired. While not abandoning tolerance or appreciation for generally accepted design excellence, students should be encouraged to explore new, innovative visualizations.

Overall, high expectations combined with a fun, open and communicative environment form the foundation for excellent ideas and work. Motivation of students should come not only from faculty, but also fellow students and professional mentors that form a community to support, encourage and critique students throughout their education.