Design process and digital technology: A Perspective for education

(1)

Rochester Institute of Technology

RIT Scholar Works

Theses

Thesis/Dissertation Collections

5-22-1996

Design process and digital technology: A

Perspective for education

Susan Wieters

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http://scholarworks.rit.edu/theses

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Recommended Citation

(2)

Susan J.

Wieters

Rochester Institute

of

Technology

A Thesis Submitted

to the

Faculty

of

The College

of

Imaging

Arts

and

Sciences

in

Candidacy

for

the

Degree

of

Master

of

Fine Arts

Design Process

and

Digital Technology:

A Perspective

for

Education

(3)

Advisor: Professor R. Roger Remington

Approvals

Associate Advisor: Professor Deborah Beardslee

Date:

~I-lf!I#f?1t

Associate Advisor: Professor Frank Romano

D

ate:

S--2!~a6

.1.

1_..

Department Chairperson: Professor Mary Ann Begland

Date:';:';';'

f '

I, Susan

J.

Wieters, hereby grant permission to the Wallace

Memorial Library of RIT to reproduce my thesis in whole or in part.

Any reproduction will not be for commercial use or profit.

(4)

Contents

The

Report

1

6

10

13

17

19

21

.

Introduction

.

Thesis

Chronology

.

Application

Description

.

Feedback

.

Conclusion

.

Future Plans

.

Acknowledgements

The

Appendices

23

...

A. Proposal

26

...

B.

Planning

Report

Situation Analysis

Problem Statement

Mission

Statement

Research

Methodology

Planning

Outline

Timeline

36

. . .C.

Style

Guide

Identity

Statement

Identity

Description

Keywords

Symbol Development

Construction

Animation

64

. . .

D. Correspondence

73

. . .E.

Interview

with

Professor

James Ver Hague

78

. . .

F. Research

Summary

Statement

of

Purpose

Research

Inventory

Timeline

Assets/Deficiencies Comparisons

Continuum

Computer Use in Support

of

Design Process

Summary

Conclusion

95

...

G. Thesis Presentation

98

...

H.

Application Visuals

Curriculum

Diagrams

Guidebook

Spreads

from

Guidebook

1 63.

. .

I. Written Text

of

Guidebook

(5)

(6)

Introduction

Personal

Statement

It is amusing

to me,

and perhaps

especially

to

my

family,

that

my

thesis topic

involves

digital

technology.

From my

first

encounterwith

the

Apple

II,

I

vowed never

to

use a computeragain.

Using

the

Apple

II

was

very

frustrating.

To

save

to

disk,

to print,

or

to

find

a

directory,

a command needed

to

be

typed.

For

a

young

person

this

seemed

very

complex.

If

I

used

the computer,

my

parents

had

to

do

everything

but

type

my

papers.

In

high

school

it

was

my

mother,

the

computer

programmer,

who pulled me

through

a required

BASIC

programming

course.

Again,

I

vowed never

to

use a computer.

Eventually,

to

my

dismay,

I

discovered

I

wasnot

going

to

have

my

way.

But

this time

it

was

different. While

in

college

I

was

introduced

to

the

Macintosh

and

found that,

miraculously,

I

did

not

hate

this

plastic

box.

This

wasa

friendlier

computer

and,

with a mouseand

pop-up

menus,

I

could

actually

see what was

happening.

I

amazed

my

family

with

my

new

found friend.

I

had

accepted

the

role

that the

computer

could

play

in

my

own

design

process.

Look

atme now!

My

thesis

involves

digital

technology.

There

are still

times

when

I

find

the

computera

very

frustrating

tool.

Sometimes

it

won'tallow me

to

do

what

I

want.

There

are

times

when a pencil

is

the

only

tool

I

need.

But

digital

technology

is

now an

integral

part

of

the

design

process.

My

thesis

explores

the

relationship

of

design

process and

digital

technology.

A

balanced

approach

is

required

for

successful

design.

Initial Discoveries

During

this

past summeras

I

poured over

design

journals

and

books

I

came across

April Greiman's

book

Hybrid Imagery: The Fusion

of

Technology

and

Graphic Design. I

bought

the

book

on

the

spot.

It

prompted

those

memories of

my early

encounters with

technology

and sparkedan

idea

for

my

thesis

project.

Digital

technology

has

(7)

I

brought Ms.

Greiman's

book

and other

design

journals to

a

meeting

with

Professor R. Roger Remington in July.

I

presented severalpossible

thesis topics.

Both

of us agreed

that

the

most viable

topic

was

the

relationship

of

design

process and

digital

technology.

A

serious

study

of

this topic

couldcontribute

to the

field

of graphic

design

aswell as

the

graphic

design

programat

Rochester Institute

of

Technology.

Initial Plan

The

fall

quarterwas spent

developing

a

Thesis

Planning

Report

(see

Appendix

B). In

this

report

I described

the

need

for

this

research

project, through the

Situation

Analysis,

Mission

Statement

and

Problem

Statement. While

developing

my

thesis plan,

I

was also

reading

Technopoly

by

Neil

Postman,

which

described

ourculture's surrender

to technology.

Mr.

Postman

presented a pointofview which

is in

contrastwith popularperception.

There

were

many

important

and

interesting

points

that

Mr.

Postman

made.

Probably

the

most

basic

and relevant

to

mewas

the

idea

of

"technological

modesty",

which

means

using

the

most appropriate

technology

for

agiven situation.

For

me

"technological

modesty"

became

the

balanced

approach of

using

digital

technology

within

the

design

process.

During

the

Winter

quarter,

while

doing

further

research andworkon

this

thesis study,

I

also created an

identity

system

for

the thesis

project

(see

Appendix C). The

process of

developing

an

identity

for

my

thesis

helped

to

clarify

and

solidify

the information

I

had

gathered

in

the

research stage.

It

also

helped

me

to

visually

communicate

these ideas.

The

system

is

based

on asquareand a circle

to

demonstrate

the

balance

of

design

processand

digital

technology.

This

system also

communicatesstagesof

integration

of

digital

technology

within

the

design

process andviceversa.

A

gridwas

developed based

on

the

construction of

the

"balanced"symbol

(see

page

12,

Appendix

A).

The

grid of

the

identity

systemwasemployed

for

all

thesis

work

(8)

When

I

began

to

research

the

topic,

I

kept

it

broad

and general

which allowed me

to

investigate many

facets

of

this

subject.

I

contacted severalgraphic

design

professors and otherprofessionals

for

assistance

in

beginning

my

research

(see Appendix

D). Responses

from

Professor

Sharon Poggenpohl

and

Professor

Meredith Davis

suggested

I

develop

comparison charts

to

help

me

to

identify

a more specific

topic

from

the

initial,

vast subjectarea.

As

a resultof

these correspondences,

comparison charts anda

timeline

were

developed

to

assistme

in

narrowing my

topic

(see

pages

3-5,

Appendix F).

Specific

Focus

and

Intent

Through

research

I

discovered

that

many

design

practitioners and

design

educators are concerned

that

students are

focusing

on

technology

and not

problem-solving

processes.

Simultaneously,

institutions

are

lagging

behind

in

digital technology,

often

because they

arereluctant

to change,

and

the

faculty

may

not

be

properly

trained

or are

intimidated

by

technology.

Students

are often

forced

to

learn

technology

on

their

own.

At

the

end of winter

quarter,

when

I

turned

in my

research

summary,

I

suggested

that

I

wanted

to

focus

my study

on

the

role of

digital

technology

in

graphic

design

education

(see

Appendix F). In

support of

this suggestion,

Professor Remington

and

I

discussed

the

possibility

of a prototypeundergraduategraphic

design

curriculum as

the

most appropriateapplication

for

my

research.

I

then

presented

this

idea

to

Professor Deborah Beardslee

and

Professor Frank Romano

and,

with

their agreement,

proceeded

to

develop

ideas

for

this

curriculum.

At

this point,

I

needed

to

start

to

research

information

on other

existing

curriculumsand curriculum

development

procedures.

During

the

break between

winterand

spring

quarters,

I

read

through

the

materialsavailable

from

a range ofundergraduate programsat

Rochester Institute

of

Technology.

Taking

an overviewof

the

programs

in

The College

of

Imaging

Arts

and

Science,

The

College

of

Information

Technology

and

the

Center

for

Digital

Media,

I

was able

to

develop

a

preliminary

curriculum.

Following

spring

break,

Professor Beardslee

provided access

to

recentcollege catalogs

in

her files

in

order

for

me

to

survey

the types

of courses

being

taught, how

the

programs are

(9)

The

basic

structure of

my

hypothetical

curriculum

is

based

on

the

undergraduate graphic

design

program

currently in

place at

RIT.

Being

familiar

with

the

current

plan,

faculty

would

be

able

to

compare

and contrast

the two

models andevaluate

the

benefits

of

the

proposed

interdisciplinary

program.

In

developing

the

curriculum

I

utilized

the

courses and

facilities

availablewithin

the

Institute,

but

also

implemented

new courses which will achieve a

balance between design

process and

digital technology,

thereby

creating

an

interdisciplinary

program.

This

type

ofprogramwould allow a graphic

design

major

to

study

with a professorwhospecializes

in

a related

field

outside of

the

traditional

graphic

design

curriculum.

Possible

areas of

study

might

include

World Wide Web

Design

or

Introduction

to

Scripting. The

goal of

this

newcurriculum proposal

is

to

achieve a

balance

of

design

process and

digital

technology.

It

was not

the

intention

of

this

project

to

provide a

definitive

curriculum

plan,

but

rathera

tool

for

the

faculty

to

stimulatecurriculum

development.

The

ultimate goal

for

studentsand

faculty

is

to

provide a graphic

design

education relevant

to

a

technological society,

whileat

the

same

time

maintaining

a commitment

to

excellence

in

design

process.

This

(10)

Timelir

.1979MIT Medio Lab

1 973 The Design Nedessih

jl

995 David Carson

"

MeraDesign

Q

1 994 Strategic

Design! AC

1919

Baunaus

>17.De$liil

Dada

1914

American Instituteor

Graphic Arts

(AIGAI

1912

AAax

Wertheimer

father

of

Gestalt Perception:

1 907

Deurscher Werkbuna

1905 iucien

Bernharcf Pnester

poster

1937

MoholyNagy

establishesthe

Mew

Bauhaus (HTl

1931

Gill

Essay

on

Typography

1 930 Stankowski

&

Bill

Consiructivist

Design

1 928 Tschichold Die Neue

Typography

1 924

Lissitrky

The

ismsofAn

1922 William Dwiggms

coinstermgraphic

design

1955

InlernationallDesign

Conterence

Rand's IBM

loao

1 972 Robert

M.cKimExperiences inVisual

Trrinking

Federal Design

Improvement

Plan

Jeff

Barnes Process Poster for

CCA.

1971

Victor

Papanek

Design for the Real World

MS Dickinson Subliminal Perception

The

Natureofthe

Controversy

1970

Dan Friedman

teachesexperimental

typography

at

Yale

and

PCA

1

954

Rudolf Arnheim

ArtandVisualPerception

1 950 Internationa!

Typograohic Style

Ulm

Schoolof

Design

1

969 Armm

Hofmann

and

Aaron Marcusteach at

Yaie

Rudolf

Arnheim Visual

Thinking

1968

Weingartteachesat

Basel

Schooiof

Design

1 967

"Ruder

Typography;

A Manualof

Design

AntonStankowski Visual

Presentation

1947 HofmannandRuderjoin

Basel School

of

Design

1 946 Paul Rand Thouahls

on

Desian

1965 Hotmann

Graphic Design Manual

1 964

KarlGerslner

Desian Proarammes

1962

Mcluhan

The Medium

istheMessage

960

Paul

Rand

teaches at

Yale

'

1 993

Rudy

VanderLans

Emigre

Graphic Design Into The

Markvon

Wodtke Mind

C

'1991

iDon-Koberg

3, Jim Bagnoll

'

The Universal Traveler

1990 Edward Tufte

Envisioning

Informati April

Greiman

Hybrid

Imogen,-:

\The

of

Technology

and

Graphic Design

1989

Richard Saul

Wurman Information Ai

B8

Joseph Campbell

The Power

ofAly/fr

Graphic Design

inAmericaexhibition

Graphic Design Arckieve

at

RIT

1984

Emigre

produces

first

issue

1983 Edward

lufre

The Visual

Display

of

Quantitative

Information

Victor

Papanek Design

torHuman

Scale

1

982

Howard Gardner

Multiple

Intelligences

1981 Memphis

led

bv

Ettore

Sotfsass-Iransallantictelegraphradio transmission

1904

Electronic

vacuumtube

Telegraphic

transmission of photographs

1 905 Einstein

Field

Theory

1 906

Photostat

1

907

Color

photograpnyprocess

1925

Photoiypeserting

1 927 Picturephone

1 928

Motionpicture with sound

1930

Analog

computer

C. Shannon

electricalswitchingcircuitsest.

the

foundation

for

Information

Theory

1 937 Xerographv

1946

EMIAC

First

all electronic

digital

compuier

1

947

Experiments lead

totransistor

1948

MARK.

'1960JCR

Lickliderinteractive._processing

MYIT

First

computer graphics

lab

and computer_paintingprogram

1 962 Ivan Southerland PhD Tnesis: Sketchpad

a- man-computerqrao'nicoicommunicationsystem

LIMC

computer-Teiestar

saiellne

1950

John

Whitney

pioneers compufer graohics

andexperimentalcomputer animation

1951 UNIVAC

Firsr

computer generatedimage

1952 Whirlwind

licomouierinstallat

MITwithcdihoaeraytube

I 956

Hard diskror sraraae

1968 Compuierwithintegratedcircuits

1969

WANE"

1 970

Floppy

disk

1

971 Doi

matrixprinter

1

958 SAGE

air

defense

computer grapnics

using

alightoen ror moui

Iniegraleacircuit

1

959

Commercial

Xeroxcopier

1972 Alan

markets

Pone

1981 IBM

Personal

computer

1 983

Laolop

compurer

1 984 Macintosh

microcomputer

Compact

disk

1985 Optical

fiber

300dpi laser

printers

PageMaker

Macromedia

Director;

Add

Depth

1 986 Fax

machines

1987 Adobe

Illustrator;

HyperCard

PowerPoinl

QuarkXPress

1 974 XeroxreleasesAlto firstcomputertouse graphics

interface icons windows and mouse

1 975

Aaron

Marcus

computer graohics interfaces

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1 976

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Compuier

founded

38 Transatlantic

optical

fiber

FileMaker

Pro;

Adobe

Streamline

Macromedia

Freenanc

1 989

AdobePhotoshop'

SuperCarc

1990

WWWonInternet

Fractal Design

Pgmier;

RayDream

1991

MicrosoftWord'

Video

Fusion

Adobe

Premiere

1992 PowerPC

chip

1 977

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founded

1 993 Pentium

_{microprocessor}

Sound Edit

1994

Mosaicand

Netsc

(11)

(12)

Thesis

Chronology

Summer

Jul.

7

Began reading

design

journals

and

books for

topic

Jul. 26

Met

with

Professor

Remington

to

discuss

thesis topic

Fall

Quarter

Sept. 7

Drafted Thesis

proposal

Sept. 1

1

Approached

Professors Beardslee

and

Romano

to

be Associate Advisors

Sept. 1

5

Professors Beardslee

and

Romano

agree

to

be

advisors

Sept.

1 7

Wrote

final

Thesis

proposal

Sept.

1

8

Thesis

proposal submittedand approved

Sept.

21

Began

drafting

Thesis

Planning

Report

Oct. 5

Read

Technopoly

by

Neil Postman

Nov.

17

Submitted

final

Thesis

Planning

Report

Nov.

20

Began

locating

books

and articles on

topic

Winter Quarter

Dec.

6

Continued

research

Dec. 14

Drafted

letter

for bibliographic

information

Dec. 16

Thesis Committee meeting

Sent

e-mail

to

Professors Dietmar

Winkler,

Kevin

Byrne,

and

Leif Allmendinger

and

designers

John VanDyke

and

Larry Keeley

Sent

letter

to

Professor Sharon Poggenpohl

Dec. 1

8

Sent

letter

to

Professor

Meredith

Davis

Began

Asset/Deficiency

comparisonsof

design

process

and

digital

technology

Continued

research

Jan. 4

E-mail

response

from

Professor Poggenpohl

Began Timeline

of

the

influences

on

design

process

and

digital

technology

Continued revising

Asset/Deficiency

comparisons

Jan.

1

0

Draft

of

Asset/Deficiency

comparisons submitted

to

advisors

for

feedback

Jan. 20

Received

response

from

Professor Davis

Continued reading

and research

Jan. 23

E-mail

response

from

Leif Allmendinger

with

bibliographic

information.

(13)

Feb. 5

Additional

information

andresourcessuggested

by

advisors

for

Timeline

Feb. 8

Began

drafting

Research Report

Continued

revising

comparisonsand

timeline

Feb. 13

Interviewed Professor Ver

Hague

about

his

view of

digital

technology

and

design

process

Discussed

additions

to

Timeline

with

Dr. Richard

Zakia

Feb.

20

Printed

Research

Report

at

UFO Systems

Feb. 21

Final Research

Report

submitted

to

committee

Printed Style Guide

at

UFO Systems

Feb. 22

Final Style Guide

submitted

to

Professor

Remington

Response

from Mr.

Keeley

with enclosed articleon

the

strategic palette employed at

the

Doblin

Group

Feb.

23

Discussed

currentprogram needs with

Professor Begland

Feb.

28

Began

to

research

RIT

undergraduatematerial

Spring

Quarter

Mar.

7

Drafted

curriculum,

discuss

setting up

a

meeting

with

Professors

Beardslee

and

Meader

Mar.

14

Began

to

research othercollege graphic

design

curriculums

Mar.

1 5

Revised

curriculumsubmitted

to

Professors

Remington,

Beardslee

and

Meader

to

review

before

meeting

Mar.

1 9

New

revised curriculum prepared

for

meeting

Met

with

Professors

Remington,

Beardslee

and

Meader

to

discuss

curriculum plan.

Professor Beardslee

gave

mean approach

to

curriculum

development

that

she

had begun

to

develop

in

1993.

Mar. 21

Continue revising

Asset/Deficiency

comparisons

and

Timeline

Broke

courses

into

topic

areas and

introduce

color

coding

to

curriculum

to

indicate

topics

Mar.

23

Began writing copy

and

designing key

spreads

for book

Mar. 26

Met

with

Professor Beardslee

to

discuss

color

coding

courses

in

modules

to

aid

in

linking

design

courses with

digital

technology

courses.

Prepared

material

for

Thesis

presentation

Mar.

27

Thesis Presentation

for

faculty

and

first

year

(14)

Mar.

28

Began revising

syllabus planner

forms,

provided

by

Professor

Remington,

to

work with

book format

Mar. 31

Revised

book

and printed

full

size

dummy

books

at

UFO Systems

for

committee

Revised

hypothetical

curriculum

Continued writing

and

designing

book

Apr. 1

Began

calling

service

bureaus

for

price quotes

Apr. 2

Printed full

size

dummy

books

at

UFO

Systems

Apr. 4

Went

to

Printing

Prep, Buffalo,

to

soft

test

image quality

Adjusted

images

based

of

feedback

at

Printing Prep

Apr. 6

Brought

text

for

spread panels

to the

Writing

Center

for

proof

reading

Apr. 8

Reviewed

curriculum panelsandspreadswith

Professor

Beardslee,

final

revisions

based

on review

Apr. 9

Brought

files

on

disk

of spreads and curriculum panels

to

Printing Prep

for

IRIS

output

Continued

working

on

book

Apr. 1

2

Picked up

outputat

Printing

Prep, Buffalo,

spreads need

to

be

re-outputed page numbers changed

during

output

Apr. 13-14 Installed

presentation

in

Bevier

Gallery

Apr.

1 5

Brought

body

copy

of

the

book

to the

Writing

Center

for

proof

reading

Returned

to

Printing Prep

to

pick

up

newspreads

Replaced

the

bad

spreads

in the

gallery

with

the

newspreads

Last

revision

to

book

Printed

book

at

UFO

Systems

Trimmed,

assembled and

bound book

Placed

book

in

gallery

for

Thesis

Show

Thesis Show opening

Gathered

materials

for

appendices

Drafted

outline

for

Thesis Report

Drafted Thesis Report

Brought Thesis Report

to the

Writing

Center

for

proof

reading

Submitted

Thesis Report

draft

to

committee

for

review

Revised

Thesis Report

(15)

timeline

;1937 Moholyt

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(16)

(17)

Application

The

presentation

for

the thesis

showconsisted of

three

curriculum

panels,

aguidebook

for design

educators and

four

spreads

from

the

book. The

spreads

from

the

book

were used as

information

panels

to

explain

to the

viewer

the

need

for

a newcurriculum.

The

spreads

used

for

this

purposewere

the

introduction,

rationale, principles,

and realities

(see Appendix

H).

The Curriculum Panels

Panel 1

:

Hypothetical Curriculum Plan

This

panel shows

the

proposedplan

for

all

four

yearsofundergraduate

design

study.

The

curriculum

is

color coded

by

topic to

demonstrate

the

focus

within a given course.

This

color

coding is

used

in

the major,

requiredandrecommended

interdisciplinary

courses

(see Appendix H).

Panel

2:

Curriculum Plan:

Design Process/Digital

Technology

This

panel

demonstrates

the

degree

of

integration

of

design

process

and

digital

technology

within a given course.

The

degrees

of

integration

are

depicted

by

using

the

appropriate symbol

from

the

identity

system

developed for

this thesis

(see Appendix H).

Panel

3:

Hypothetical Curriculum Path

Emphasizing

Interactive Media

This

panel

demonstrates

apossible selection

by

a studentwithan

emphasis

in

digital

media.

The

choicesare represented

through

the

shaded course

boxes.

Required

courses areshown

in

dark

grey,

the

student's choicesareshown

in

light

grey,

and unselected

(18)

The

Guidebook

A

Perspective

on

Education

The

book's

purpose

is

to

further

explain

the

rationale

for

the

new curriculum.

The book

consistsof

two

parts: a rationale

for

this

curriculumand aworkbook.

The

first

part of

the

book describes

the

need

for

a new curriculum

based

on

my

research.

Earlier

research

is

presented

in

the

book

in

the

form

of comparisons and a

timeline

of

design

processand

digital

technology

milestones.

New

research

is

alsopresented

through

acomparison of other graphic

design

programs andwhat

they

emphasize.

The

secondpart of

the

book

is intended

for

professors

to

useas aworkbook while

developing

newcourses or

modifying existing

ones

to

fit

within

the

curriculum

(see

Appendix H).

The Guidebook Spreads

The

spreads selected

for

display

in

the thesis

show

(introduction,

rationale,

principles,

and

realities)

were

key

pointswithin

the

book

that

explained

my

position

in

a quick overview.

This

approach was chosensince people

may

not

have

the time to

read

through

the

entire

book

in

a

gallery

setting.

These

spreadswould provide enough

(19)

(20)

Feedback

I

knew

from

Professor Remington

that

he felt

the

plan should

be

a

bolder,

more radical plan.

Professor

Mary

Ann

Begland,

chairperson of

the

Graphic

Design

Department,

suggested

that

my

work was

well-designed,

but

that

some proposed

ideas

would

be difficult

to

implement

(i.e.

bringing

the

major

into

the

first

year or

having

both

design

and

fine

arts professors

teach

foundation

courses).

During

my

March

19th meeting

with

Professors

Remington,

Beardslee

and

Meader

to

discuss

the

progress and

direction

of

the

hypothetical

curriculum,

everyoneseemed

interested in

the

curriculum.

They

were

all

very

helpful

in providing

constructive suggestions.

These

suggestions

included adding

design

studies courses and

discouraged

tracks

of

study

within

the major,

such as editorial

design

or

interactive

media

design.

During

the

Thesis

Show

opening

people congratulated me

but did

not

really

comment on

the

curriculum.

Since

the

opening

was

hectic

and

is

notconducive

to prolonged,

in-depth

conversation,

I

wasuncertain

how

otherpeople

may

have

received

my

thesis

project.

Dr. Zakia

approached me

during

the thesis

show

to

extendcongratulations and

discuss

the

curriculum.

His

commentswere

very

positiveand

he

seemed enthusiasticabout

the

curriculum.

In

addition,

Professor Steve Loar

requested

that

I

set

up

a

meeting

with

him

to explain, in

more

detail,

the thoughts

and

ideas

I

presented

in

the

project.

Until

I had

my meeting

with

Professor

Loar,

Director

of

the

School

of

Art

and

Design

and

the

School

for

American

Crafts,

I

felt

uncertain

how

faculty

members

may

have

viewed

the

proposed plan.

Professor

Loar

seemed

very

interested in

my

ideas,

explaining

that

my

thesis

(21)

During

our

discussion,

I

frequently

repeated

that this

particular plan was

developed for

the

graphic

design

program

in

mind and not

for

the

whole college.

He

seemed

to

approve

that

my

hypothetical

curriculum was

based

on

the

current

RIT

curriculum and made reference

to the

currentmodel

through the

namesof

the

courses.

Professor

Loar

told

me

he

felt

that the

proposed curriculum

did

show a

balance

of

design

process and

digital

technology

through the

learning

about

the technological tools.

While

Director

of

the two schools,

Professor

Loar

also

teaches in the

foundations

program.

He

seemed most

interested in

the

changes

I

proposed

for

the

first

year,

such as not

introducing

computers

in

foundation

courses,

having

both

design

and

fine

art professors

teaching

in

foundations

and

introducing

students

to

various majors

in the

second quarter.

He

also seemed

to

appreciate

beginning

the

graphic

design

major

in

the third

quarter of

freshman

year,

after students

have

had

a chance

to

explore

different

majorsoffered within

the

college.

Entering

the

major

by

the

end of

first

yearcould

be

viewed asa culmination of

first

yearexperiences orasan

introduction to

graphic

design.

While

not

immediately

enrolling

in

a major

the

first

year,

as

the

craft

school

does,

design

majorswould no

longer be

required

to

wait until

the

second year

to

begin

their

major.

In

a

sense, this

newapproach would

be

a

hybrid

of

the two

programstyleswithin

the

college.

(22)

professors.

I

explained

that the

way

the

information

was

currently

presented

in

the

RIT

Undergraduate Bulletin

did

not show

the

course

asa requirementandwas offered

for

only

onequarter.

This may

point

to

a need

for

more

clarity in existing

descriptive

materials.

I feel

the

meeting

was positive

and,

while

it

exposed me

to

only

one

professor's

opinion, it

informed

me of

how

the

curriculum might

be

received

by

someotherprofessors.

Professor

Loar

requested

that

I

present

these

ideas

at

faculty

curriculum workshops

in

June

and/or

August,

in

order

to

stimulate

discussion

of curriculum

(23)

(24)

Conclusion

The

new curriculum

I

am

proposing

has

met

my initial

objectives

for

a

balanced

approach

in

graphic

design

education.

It

draws

on

the

curriculum model

currently in

place at

RIT,

which

furnishes

a sound

foundation

in

design

process.

It

allows students

to

gain acomprehensive

understanding

of related

areas,

such asworld wide web

design

and

introduction

to scripting,

while

providing

the

graphic

design

major

with

the tools

he/she

requires

for

a successful career

in

graphic

design.

Also,

this

new

balanced

curriculum provides

the

necessary

background

in

technical

knowledge

essential

for

the

graphic

designer.

I

feel

I

have

successfully

achieved

my

goals although

there

has been

noofficial

meeting

with

the

graphic

design

faculty

and myself

to

discuss

the

curriculum.

I

have been

somewhat

disappointed

that the

graphic

design

faculty

members

have

not expressed as much

interest

as

I

had hoped.

If

it

has

stimulated

discussion

among

the

professors

I

am notaware of

it. I

have

subsequently

spokenwith

Professor

Loar

and

he

told

me

he

was

already

talking

about

my

ideas

with other

faculty

members.

Maybe

I

cansneak

in the

back door

of

the

graphic

design department

by

presenting

this information

at

faculty

workshops

(25)

(26)

Future

Plans

During

the

last

thesis

meeting

ofwinter

quarter,

I

turned

in my

thesis

research

summary,

and proposed

to

Professor

Remington

that

I

wanted

to

focus

on

digital

technology

and graphic

design

education.

We

discussed

creating

anew

methodology

for

graphic

design

education

based

on

the

model

currently

in

place

here

at

RIT.

Professor

Remington

suggested

using

the

current

RIT

graphic

design

program as a model

to

work

from,

hoping

that

it

would create

interest

and stimulate

faculty.

He

explained

that this

wasgood

timing

since

the

curriculum

has been

a

topic

in

need of

discussion

for

awhile.

At

this time

we

discussed

the

possibility

of

presenting

the

curriculum

developed for

my

thesis to

faculty

and administration members.

As

a resultof

the

meeting

with

Professor

Loar,

I may

have

the

opportunity

to

present

the

curriculum

to

graphic

design

andother

faculty

members

in

June

and/or

August

1 996.

This

thesis

experience

may

well

be

an

influence

on

my

future

career

plans.

If I

were

to teach

design

at

the

college

level,

I

would

be

sure

to

investigate

the

balance between design

process and

digital

technology

that

existed

in

the

current curriculum.

If

these two

aspectswere

determined

to

be

out-of-balance,

I

would

be better

prepared

to

analyze

and

implement

a more

appropriate,

balanced

approach.

This

process

would

in

many

ways

be

similar

to

my

approach

to

this thesis

study.

It is

a

responsibility I

would accept as a

design

educator, to

ensure

that

studentsare prepared

to

be

intelligent

problem-solvers

in

a

(27)

(28)

Acknowledgements

I

would

like

to thank the

many

supportive people who

have

contributed

to this thesis

project.

My

Thesis

Committee

for

going

above and

beyond

the

call of

duty:

Professor R. Roger Remington

Professor Deborah Beardslee

Professor Frank

Romano

Professors

within

the

RIT community

who

graciously

gave

their time

and constructive suggestions:

Professor

Mary

Ann

Begland

Professor

Steve Loar

Professor Bruce Ian

Meader

Professor James Ver Hague

Professor Emeritus Richard Zakia

Other

design

educators and

design

practitionerswho provided

me withvaluable

information:

Professor Leif

Allmendinger,

Northern Illinois

University,

De

Kalb

Professor

Meredith

Davis,

North Carolina

State

University,

Raleigh

Professor Sharon

Poggenpohl,

Illinois

Institute

of

Technology,

Chicago

Mr.

Larry

Keeley,

Doblin

Group,

Chicago

UFO Systems Inc.

for

allowing

me access after

hours

and

free

printing

for

the

book

and

its

many

mock ups.

Finally

andmost

importantly

my

family,

especially

my

parents

(29)

(30)

Thesis Proposal for

the

Master

of

Fine

Arts Degree

College

of

Imaging

Arts

and

Sciences

Rochester Institute

of

Technology

The

Relationship

of

Design Process

and

Technology

Susan Wieters

September

18,

1995

Thesis Committee:

Chief Advisor: R. Roger Remington

Associate Advisors:

1

.

Deborah Beardslee

2.

Frank Romano

>

Thesis Committee Approval:

(31)

The

Relationship

of

Design Process

and

Technology

Considering

the

dramatic

effect of

digital

technology

upon

the

world of

design

and

the

process

by

which

design is

created

and

produced,

I

propose

to

study

this

relationship.

I intend

to

conduct an audit of graphic

design

processes and

the

influence

of

technology

by

examining

case

studies.

Through

analysis of

diagrams

and charts gathered

during

research,

I

plan

to

interpret

the

information in

a

way

that

would

be

meaningful

and useful

for

other

designers.

(32)

(33)

Situation Analysis

Technological

innovations

have

been

documented

throughout

history

to

usurp

the

older

technologies.

These

new

technologies

alter peoples

behaviors.

Digital

technology has

dramatically

effected

the

design

world

and

influenced

the

way

in

which we

design.

This

influence

of

technology

has

changed

the

way

designers

work and

think.

More

and more

designers

are

depending heavily

on

technology

and are

becoming

confused about

the

design

process.

Designers

are

putting

a

lot

of

faith

into

the

powerof

the

present

technology

and

if

allowed,

it

could

undermined

their

confidence

in

their

abilities and

judgements.

If

this

happens

there

may

be

no evaluation and alternative solutions

that

could

be

developed,

through

use of

design

process,

will

be

overlooked.

(34)

Problem Statement

There is

a need

among

the

design

community

to

study

the

relationship

of

technology

and

design

process.

While

there

are

benefits

to

using

digital technology,

affordances,

valances and constraints of

that

technology

must

be

considered

in

the

design

process.

By

studying

this

relationship,

I intend

to

providea

thorough

record

that

may

be

used

by

designers,

students and clients.

The

purposeof

this

project

is

to

bring

a

better

understanding

of

the

design

process

in

relation

to the

(35)

Mission Statement

This

projectwill

be

a

study

of

the

influence

of

technology

on

design

process

that

will provide a set ofguides

for designers

and students

in

hopes

of

fostering

a

better balance

of

tools

and process.

These

guidesof

balancing

of

tools

andprocesscan also

be

used

to

educate

our

clients, to

make

them

aware

that

a

technology

does

notequal

knowledge

of

design.

If

technology

is

used

effectively

and

modestly,

(36)

Research

Methodology

In

doing

this

researchproject

I

will

investigate

various

technological

factors

that

impact

on

design

process.

By

looking

at

historical

advances

in

technology

and

their

influence

on

design,

I

will make correlations

between

past

impacts

and present.

I

intend

to

study

these influences

on professional andstudent

designers.

Presently

the influence

of

technology

clouds

the

design

process,

thereby

encouraging

illegible

type,

personal expression and non-functional

design.

Technology

Design Process

print

m\jlti-media

computer

internetN

client

critic

Thesis

photography

modern

designer

student

/

"photolettering

\ /

-postmodern \

printingpress

/ N.

newwave

\

statcamera^/

television

film

telegraph

industrialrevolution

clock middle ages

/

(37)

Planning

Outline

1.

Problem Identification

1

.1

Planning

1.1.1

Write

situation analysis

1.1.1.1. Determine

needs

1.1.1.1.1. Needs

of

designers

1.1.1.1.2.

Needs

of students

1

.1 .2

Write

problemstatement

1.1.2.1. Define

problem

1.1.2.1.1. Establish

content

1.1.2.1.2.

Establish

audience

1.1.3 Write

missionstatement

1

.1.3.1.

Refine

problemstatement

1

.1.4

Incorporate into

master plan

1

.2

Gather Information

1

.2.1

Pertinent

articles and

books

1

.2.2

Determine

key

people

1

.2.2.1

Designers

1

.2.2.2

Technology

"experts"

1

.2.2.3

Resource

people

1

.3

Submit

final

master plan

2.

Research

and

Analysis

2.1 Compile

historical

information

on

technology

2.1.1 Research

technology

2.1.1.1 Gather

information

2.1.1.2 Gather

visuals

2.1.1.2.1

Images

of

technology

2.1.1.2.1.1 Computers

2.1

.1.2.1.2

People using

technology

2.

1

.2

Summary

of

technology

2.2

Compile

information

on

design

process

2.2.1 Research

design

process

2.2.1.1

Gather

information

2.2.1.2 Gather

visuals

2.2.1.2.1 Images

of process

2.2.1.2.1.1 Diagrams

(38)

2. Research

and

Analysis

(cont.)

2.2.1

.2.1.3

Designers'

tools

2.2.1.2.1.3.1 Pencils

2.2.1.2.1.3.2

Markers

2.2.1.2.1.3.3

Loop

2.2.1

.2.1.3.4

Proportion

wheel

2.2.1.2.1.3.2 Sketches

2.2.2

Summary

of

design

process

2.3

Identify

influences

of

technology

on

design

process

2.3.1

Make

connections

2.3.1.1

Construct

timeline

2.3.2

Use

diagrams

and charts

2.3.2.1 Illustrate influences

of

technology

2.3.3

Summary

of

influences

of

technology

on process

2.4 Document

3.

Synthesis

3.1

Analyze

documented

research

3.1.1 Review

document

3.1.1.1 Sort

gathered

information

3.1

.2

Re-evaluate

gathered

information

3.2.2.1

Identify

missing

information

3.2

Compile

visuals

file

for

ideation

3.3.1 Collect

appropriate visual materials

3.3.1.1

Photos

3.2.1

.2

Diagrams

and charts

3.3

Summary

ofsynthesis

4.

Ideation

4.1

Generate preliminary

solutions

4.1

.1

Determine

approach

4.1

.1.1

Rough

sketches

4.1

.1.1 .1

Key

words

(39)

4. Ideation

(cont.)

4.2 Explore

Revisions

from

committee

5.1.1.1 Feed back

loop

5.1.1.1.1

Return

to

ideation

5.2

Arrange

additional committee meetings

5.2.1

Revisions

from

committee

5.3 Troubleshoot

production problems

5.3.1 Investigate

service

bureaus

5.3.1.1

Quality

5.3.1

.1 .1

Samples

5.3.1

.2

Advantages/disadvantages

5.3.1

.2.1

Testing

5.3.1

.2.2

Turnaround

5.3.1.2.3 Price

5.3.1

.2.4

Media

supported

5.3.1

.2.5

Format

Requirements

(40)

6.

Implementation

6.1 Finalize design

of project

6.1

.1

Output

of project

6.1

.1.1

Testing

6.1

.1 .2

Format

to

service

bureaus

requirements

6.1

.2

Assemble

project

6.2 Thesis Show

6.2.1 Include

feed

back

format

6.3

Write

Thesis

report

7.

Post-Evaluation

7.1

Assimilate

information

from

show

7.2

Select

evaluation method

7.2.1

Use

method

to

evaluate project

7.3 Write draft

of report

7.3.1 Proof

report

7.3.1

.1

Take

proof

to

Writing

Center

7.3.2 Submit

draft

to

committee

7.3.2.1 Revisions

of report

7.3.3

Final

report

(41)

Timeline

|

Thesis/Tasks

RIT/Thesis

Calendar

September

c

i

1

I

7

Situation

analysis

1 7 Problem

statement

21

Mission

statement

28 Submit

proposal

7

Classes

begin

4

Labor

Day

October

S

E

u

I

5

Planning

outline

12

Bibliography

19 Timeline

3 1

Halloween

November

*, a SB <

2 Review

database

software

27 Compile

technology

&

design

process

information

17

Submit

Final

Plan

Classes

end

21

Fall

quarter ends

23

Thanksgiving

December

_^

X

g

₀

3

1

3 Tech/process

into

database

10 Timelines/diagrams

of

tech/process

connections

1 8 Summarize

influences

4

Winter

quarter

begins

1

6

Committee

meeting

23

Winter

break

25 Christmas

3

1

New Year's Eve

January

.2 a

m

sp

1

c 0 V

5

J!

3

Review

documents

7

Compile

visuals

1 1

Summarize

synthesis

13 Mind

maps

16 Rough

sketches

25

Preliminary

solutions

3

Classes

resume

1

New Year's

Day

15 Martin Luther

King Day

February

1

Feed back/return

ideation

8 Determine feed back

at

Show

1 5 Investigate

service

bureaus

22 Summarize

pre-evaluation

1

Committee

meeting

27

Winter

quarter ends

19

Presidents'

Day

March

e 0 '

1

q.

1 1

Finalization

of project

1 8

Testing

of output

26

Output

of project

27

Assembly

of project

1 1

Spring

quarter

begins

14

Committee

meeting

1 7 St.

Patrick's

Day

April

I

s'if

5

6

3

15-18

Installation

1

9 2nd Thesis Show

20

Organize documents

2 1

Begin draft

of

Thesis

26

Summarization

of

Thesis

Show

feedback

30

Thesis

draft

to

Committee

15-18

Installation

1 9

2nd Thesis

Show

3 Passover

7 Easter

May

|

6 Revise

Thesis draft

1

0

Draft

to

Writing

Center

21

Final

Thesis

report

23

Committee

Meeting

1 2

Mother's

Day

(42)

(43)

Design

Process

and

Digital

Technology

(44)

(45)

A.n

identity

iscomposec

symbolisoften

devel

An

identity

should quid

aspectpfthe"image"

c

cky

f

(ifelementsthatrepreserts

lofied

considering

thespetl>

convey

recognition anc

he

subject.

Isideasandconcepts

3

1

characteristics ofthat

3 sensejof thesubject,

li

ot a subjfect.

subject.

i; the mdj

Identity

Statement

The relationship

of

Design Process

and

Digital

Teofnology

deals

withthe aggieto

balance

the

design

process and

the

technology

cif

design The digital

technologies

utilized;indesignare con

educatethemselves incrcerto

stay

current

during

hisevolution.

I

believe

lends

itself to th

struggle!that is thespec of anidentity.

This

! ch

for

bala

demonstrates

harmony

among IWp seemingly

^entity

taking

shapethrougfrthreesymbotspd

characteristic ofthepr

>j

set and

Isnds

itself to

imply

motion or a sequence of event

opfbesing

principles.

I

envision

dominant,

andthe

bala

ice ofthetwo.

Each

symbol ofthe

identity

will sh s

may

changeinsize<

theessence will remair common

feature

or

'par:

to

convey

theviewpoint

throughputtheseries.

Tl

thecontextin-which-it-wouldbedpplied

Tii

e series wil

element.

These

ele cf a particular symbol

seriesCould

function

sep3rately

prtogether

depe

bui

process vhich the

dominant, technology

this creatiori some Dositioni tiesame

tiling

upon

This

flexibility

otthesysl

projectj

The strong

relat

this

flexjble

approach.r

should

be

more

flexible

be

amolel

flexible;

identity

system

ihhn

thnthintypical

idpnltity

pmgrin i will reflect and maxirr

ie

thestudiesproduced

n

developed

through the

;ey

worlds

demonstrates

identity

program whicf

r nature! rathertho

isorientedto the

90s

wa

jring the

tle need

for

i of

thinking

(46)

dentityiDescription

mesynrjbol

tor

thisproje to

form

pne

balanced

rr symbolsto

demonstrate

t

stages

demonstrate

the

.tec.hn.ol<i>gy,.Ih.ey.are..JQir achieved

using

both

inc

;

has

evplved

trom

thec ark.

This

hiark has been

< retwo

opposing

aspects

crying

levels

ofinvolvemi ed.togiber.dem.ons.t(Q,tir. rappropriate manner.

incernto cvelopec ofthis th

rt

betwe

3

.a.jjnifie

unify

twosepar]!;symbpls

throughasequ31 iceof ssis project.

The

ir termediate

(47)

Keywords

tension

balance

evolution

flexible

i

.sequence

contrast!

opposing

(48)

(49)

Symbol!

Development

In

deve

explore

digital

t

needec

oping

theunifiei

d

to

determine

v

schnology.

After

demonstrate

the

symbolitorthis project,

hch

mark communicates

theunifiedmark was sell

blending

ofthese twoa:

uny

dirt

the

bala

cted, the

:ects.

erent avenues

hciviToeen

|

ice of

design

processand

(50)

The

Symbol:

Initial

Stag

Symbol;

Development

^^O

(51)

Symbol Development

The Syrjibol: Symbol

Re'

nementof

Selected

Idea

O #

:^B^

^

o

O

YgY

^

Y^

!

s^^

(52)

(53)

(54)

\x

(55)

3asic Elements

The basic

elements orthe

agrid,

based

onthesiz twomarksintersectwithi

module

iunit,

whichthe t\ symbol

:ofthe(

he

uniti

cograph\

3rethesquare anc thecircle.

The

markiscoistructec

:ircleand square,

the

gridisconstructed

b/

where1

sd mark.

The

intsinection ofthegridsquarescreates

for

thismark worksoff, themoduleis.09squarein on

le

a

ch.

Y^

\ \ i

1

thesquare thecircle theunit module and

the:

grid

(56)

3asemark

The

square and circlec

modules

from

the

top

at

e

joined;

together

by

plai

crightgiid

lines

ofthec

ing

the

design

process si

role.

iare

5

Unit

s and \".

Desiqn Proce:

: :\ . ,~

'XS

v _{Dlglftil TiSi:;w<f W}

\\\

(57)

The

typography

used

fo

The

typography

is thex-hejghtof

'Digita

placec

Txl

lie

logof/pe

is

Futura

1

unitmodule

from

the

hnology'

aligns with th<

typography

Bc|oc9/13:pt.

right grid

line

ofthecircl

lop

grid;

line

ofthesquare

I

; /

(58)

(59)

Scale

The

scaleis to

demonst

a etherange ofsizesthe thesymbol can

be

usee

\

!

Design Proces

rind

\Ks

v uigirailecnnoi

cgy

\\\

s^)

Design Processand

Digital

Technology

\V\

A

\

Dsi jnProcessand

ialTechnokigy

\V\

(60)

(61)

\

h

Diagram

Researc

The

applicationisa sorti

1

pieot

how

thesymbols

may be

used within a giv;r.context.

: i

i

|

i

-.**..

"i-S^

smr-siW ,fe* id..?w b.. *Jh!,.S.U.iriifc.!*Siiji

"YYter-

''

!

-ta-s-ts^

;

:

""

^L

\

j

I

i

1

17

(62)

(63)

delation

to

Other

Marks

This

cor

convey

lparisonotmarl

theirspecialchc s

demon

r< icteristic

strafes

how

othe

s.

dentitie

iutilize similarsiapesto

ft

\

o*S8S88SSSStow

5==F

Al&l

Power (_computing

Global Village

(64)

(65)

Animation

This

animation

demonsti

creating

a

balanced

wl