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Dear fellow graphic design educators,
AIA (architecture) has one. As does CIDA (interior design). ITAA (apparel design), with only 800 members, has multiple. And IDSA (product/industrial design) gives one too.
These design organizations, peers of the AIGA, give their educators an annual award for excellence in teaching and scholarship. We should do the same.
Well over two years ago I approached the AIGA Design Educators Committee with an idea for creating a national graphic design educators award to acknowledge graphic design faculty for their teaching, research, creative practice and service
to the discipline.
While the AIGA has awarded its Medal to full-time educators (Sheila Levrant de Bretteville, Meredith Davis and a few others), the vast majority of recipients have received it for their contributions to professional practice, and that’s as
it should be. The educator award would not replace or compete with the AIGA Medal or Fellow Award, nor would recipients of one be excluded from receiving the other.
I believe though that graphic design educators should be recognized annually with a specific award, reflecting AIGA’s large educational membership (students and faculty) and the maturation of graphic design from a service-oriented profession
to a full-fledged discipline, inclusive of social, cultural, critical and theoretical aspects.
The award could consist of three sub-awards, honoring faculty for particular achievements in teaching, scholarship and service, and acknowledging excellence, innovation, creativity and impact in graphic design education. A panel of AIGA design
educators and professionals would review nominations annually and make recommendations to the AIGA Board for a final decision. Concerns about how this might be financed could be allayed by requiring an application fee, just as the AIGA 50 Books Competition
charges $45 per book.
In a November 13, 2012 email to me regarding the proposal, former AIGA president Doug Powell laid out a timeline of approval processes over the year 2013, aiming toward a spring 2014 launch. He stated, of his and AIGA executive director Ric
Grefé’s, thoughts: “We are both very enthusiastic about this possibility….”
Apparently, the AIGA DEC has been working on this proposal, but I’m not sure it’s as far along as one might hope. Both the DEC and the AIGA presidency have different people involved since earlier interest. Perhaps more support from rank and
file members would help propel the concept of a national graphic design education award towards being a reality.
Please join me in encouraging the DEC and AIGA leadership to act soon to make this idea an award-giving one.
Steven McCarthy, Professor
College of Design
University of Minnesota
Question for creative directors (or personel in charge of hiring designers)...
I've worked hard to put together original, strong cover letters & resumes. Triple checked that grammar and punctuation is correct, even had others double check it before sending it. I address the creative director or person responsible. I have put together
complete book portfolios as well as a print sample folder that allows you to hold the piece, open it, and actually see the project. Then proceeded to have interviews. I am met with comments like "this is striking", your work is "fresh", "you have a lot of
talent", and "this is a beautifully designed piece". And then there is no outcome. I follow up and am told that they will get back to me. But I never get critiqued and it is like pulling teeth for people get back to me. I was once told by a creative director
that "persistence is key" and that if you want a design job to go in face to face. Now that the digital realm has pulled a majority of face to face communication away, how do you go about getting true and honest feedback?
I graduated from design school with the impresssion that I needed to prepare myself for harsh criticism techniques. I'm literally asking for criticism and not getting it. I want to better myself as a designer, support good values and ethics, and land a great
If nothing else, I'd love some advice on how to not be overlooked when I do all the right things (address the person responsible (and correctly), have correct grammar and spelling, provide to the point explanations of employment history.... so on..)
I am a sophomore going into Graphic Design, and right now I am trying to look at summer opportunities for studying abroad.
I was hoping that I could glean some information from you all about where you think the best places to study abroad are, or what are some of the best schools outside of the US.
I've finished a project with a broadside accordian fold, flat 21x34, finished 10.5x4.25. Sent it to the printer my client wanted and the proof that they sent back was a mess. It was .25" short on the width and height, and the panels were folded in a variety
of widths. I marked up the proof & sent it back, requesting an accurate proof that demonstrates they can do the job. I just received an email asking me to approve the job and promising that they will do it right, but they can't provide an accurate folded proof
because of the proofing paper. In 20 years, I've never had a printer suggest that I approve a job without an accurate proof. Especially when the job involves folds. You have to see that everything lines up on the equipment that is being used. Has the printing
business changed this much with PDF proofs and online ordering that a complex job doesn;t receive a good quality proof? Please give me your opinions, because I'm concerned that the client will shrug and say OK. Thanks!
I never approve anything, folded or flat, from outside vendors (and even the in-house prinshop I work with on a regular basis) before I see a print proof! Trust your gut and don't approve until you see that they can produce the quality product you need for
Hello everyone! I have a technical questions that has been driving me crazy, and probably has a very simple solution. Whenevner I create a document in Indesign that has a stroke added to any of it's text then save it as a PDF and upload it online to a digital
library such as Scribd, it's like the stoke doesnt line up with the text and the outcome is awful and not readable. Suggestions?
San Francisco-based Letterform Archive is a labor of love, making the history of letterforms more accessible than ever. Founder Rob Saunders has an expansive collection of typography and lettering—already over 13,000 objects, and still growing. The collection is gradually being imaged, using nuanced photographic techniques to capture details of surface texture,...
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