final project

Introduction

In the GID 1 Class at Foothill College in the fall semester I learn the Demonstration of Knowledge of Key Concepts. Using the discussion board to discuss key concept allows me to learn from one another and share ideas. When I submit an assignment directly to Etudes, this sharing of ideas is start. The discussion area as great which I barely attended in because of my busy time, but one of the primary reasons for using discussion area is to build a community of learners to help them to share their thoughts and their journals. This tool allows us to become part of a vibrant learning community, rather than a just an independent learner completing & submitting assignments with no real peer interaction. Reflective activities require us to share a synthesis of the learning experience, or to describe how a situation or experience has personal value to us. These kinds of activities should allow for honest and open responses. Also this class and the weekly modules, assignments, test and Journals leads us to critical thinking which encourage us to think deeply about the text.  And the GID 1 is introduction to the concepts of design throughout history. Emphasis will be placed on graphic and industrial design in the Nineteenth and twentieth century. Graphic design is the art and practice of visual communication. Designers use color, typography, images, symbols, and systems to make the surfaces around us come alive with meaning. Today, the field is shifting and expanding as new technologies and social movements are changing the way people make and consume media. Public awareness of graphic design has grown enormously over the past two decades through the desktop computing and Internet revolutions, which have also fueled tremendous growth in the profession. Graphic design is the largest of the design professions, representing more than a quarter million practitioners in the United States. And there are my answers:

What did you learn? How do you see things differently as a result?

At first when I looked it book I truly scared that how can I learn pass this course. However I learnt really quickly and fast as my thoughts. Each part of the book had its own unique charm and informative content. This course was a greater understanding of the graphic arts and how it had evolved throughout the span of human existence. In a shallow sense, this was accomplished. The first couple chapters of the book as it described the origin and growth of written language. I found it interesting how the textbook painted a picture of graphic, representational art evolving alongside language, from the cave painting of our ancient ancestors to the illuminated manuscripts of the medieval era. Specifically I really enjoyed the development of Chinese and Korean languages. I had never really considered the origins of language as the beginning of graphic design and I definitely found it an interesting theory.

What did you not learn? Why was the class not valuable to you? How could it have been more valuable?

Genuinely I learn everything about this book and chapters. The class was really valuable for me. I f I got fair grade; it wasn’t the class or teacher fault .Honestly it was my lower work. I did less.

 What new connections did you make regarding graphic design and the evolution of human culture?

Graphic design has always played an important role around society and the individual as it affects cultural identity, social structures, economies, cultural development and environments. It touches many individuals on a daily basis and encompasses a variety of disciplines, from architecture, to communication, engineering, products, computer-related technology and even contemporary studies in anthropology and ethnography. It has a profound effect on what we do, how we feel, and who we are. Through experience and experimentation, we continually increase our understanding of the visual world and how we are influenced by it.  Relatively speaking, in terms of communication, textual ubiquity is brand new. Thanks to millions of years of evolution, we are genetically wired to respond differently to visuals than text. For example, humans have an innate fondness for images of wide, open landscapes, which evoke an instant sense of well-being and contentment. And thanks to the book of graphic design, it shows how these evolutions shaped to those years.

 What new interests might you have based on what you've been exposed to?

            Though I studied painting a lot as a painter, if feel as if there was an aspect of it that I was missing, and the Book of the history of graphic design shows me the path of hw basic designs and images came from.. And all the pictures and the text of the book have always been fascinating to me and perhaps I can learn something from those who have done it before me.

 How will you apply what you've learned to experiencing life, your understanding of other disciplines, your future career?

  I'm going to apply the different methodologies and concepts at the heart of the art movements we've learned about and apply them to my own work. I hope to broaden my range as a creative force and perhaps by imitating the past and combining it with my own interests and focus I can synthesize great works and vastly improve my skills.
 What is the future of graphic design?

  I feel that in the future this will become more prevalent as information now is catered directly to us using our habits and locations to target us directly as advertisements. The future of the graphic designer will be using these technologies and creating a seamless, aesthetically pleasing experience for the user.

Katherine McCoy

                                              Katherine McCoy

She began her work in design at Unimark International, and was a graphic designer for Chrysler Corporation's Corporate Identity Office, Omnigraphics of Boston, and Designers and Partners, an advertising design studio in Detroit. Other professional practice includes graphic design for MIT Press, Xerox Education Group, and major advertising agencies. As a partner of McCoy & McCoy Associates, projects include graphic and signage design, design marketing, exhibition design, the interior design of furniture showrooms and executive offices, and a television documentary, Future Wave: Japan Design. Recent clients include Formica Corporation, Unisys, Philips Electronics, Tobu Stores Tokyo, International Design Center Nagoya, Detroit Institute of Arts and Cranbrook Educational Community.

She is Past President and Fellow of the Industrial Designers Society of America, and an elected member of the Alliance Graphique Internationale. In recent years she served as President and Chairman of the Board of the American Center for Design, and Vice President of the American Institute of Graphic Arts. She has been a member of the Aldus Graphic Arts Advisory Board, the Design Issues Advisory Board, and a Contributing Editor of ID Magazine. She served on the Design Arts Policy Panel of the National Endowment for the Arts and chaired the Design Arts Fellowships Grant Panel for three years. She was a 1982 IBM Fellow of the International Design Conference at Aspen. In 1987 she received the Society of Typographic Arts Educator Award and the Joyce Hall Distinguished Professorship at Kansas City Art Institute jointly with husband and partner Michael McCoy. In 1994 they were jointly awarded a Chrysler Award for Innovation in Design.

Her work has been published internationally, including the book Graphic Design in America: A Visual Language History by the Walker Art Center and Women in Design, published by Rizzoli International. Her teaching methodology has been featured in the ABC Editions Zurich books Graphic Design International and Graphic Design Education, Eye Magazine, Novum Gebrauchsgraphik and Print Magazine. She recently coauthored and designed the book, Cranbrook Design: The New Discourse, published by Rizzoli International. She curated the exhibition New Dutch Graphic Design, which traveled to thirteen cities including Boston, Chicago, St. Louis, Seattle, Montreal and Vancouver from 1986 to 1990. In 1993 she chaired Living Surfaces, the first national conference in the U.S. on multimedia in graphic and industrial design.

A major exhibition, Cranbrook Design: The New Discourse, traveled to New York and Tokyo in 1991, featuring posters and books by Katherine McCoy, as well as those by her students and alumni. Other exhibitions include Mixing Messages at the Cooper Hewitt Museum of Design, New York; Graphic Design in America: A Visual Language History at the Walker Art Center, Minneapolis, and L' image des Mots at the Centre Pompidou Centre de Creation Industrielle, Paris; the Design Museum, London, the Cooper Hewitt Museum of Design, the American Institute of Graphic Arts, the International Design Conference at Aspen, the Cranbrook Academy of Art Museum, and the Pacific Design Center; the Museum of Modern Art, Rio de Janeiro, Brazil, the Isreal Museum, Jerusalem, and the Cultural Palace, Riyadh, Kingdom of Saudi Arabia.

International lectures include five ICOGRADA and four ICSID congresses, the Stanford Design and Aspen conferences, the Cooper Hewitt Museum of Design, the New York Architectural League, Harvard University, the Rietveld Academy of Amsterdam, and JIDA and JAGDA, Japan. Juries include the AIGA Communication Graphics, STA 100 Show, Interiors Magazine "I" Awards, and 1984, 1988 and 1991 United States Presidential Design Awards.

Awards include the ID Magazine Annual Design Review, the AIGA Communication Graphics Show, the STA 100 Show, the Print Regional Design Annual, the Type Directors Club of New York TDC Show, the New York Art Directors Club One Show, the Society of Publication Designers, the Interiors Magazine "I" Awards, and the Industrial Designers Society of America IDEA Awards.