Excellent article and a very good reflection on those who dare to care only for teachers of Design be uploaded on a pedestal of ignorance and could not find his true role in this profession is to be inspirational, motivational and example of love and passion by one run. ALWAYS in the teaching of Design, will be above the dreams of the student to the needs of egomania of teachers.
Rodolfo Fuentes
teachers are needed very friendly individual potential of each of the students who prepare and designers.
"Dont try to Be original, just try to be good." Paul Rand
The Education of a (good) designer does not necessarily begin when he decided to formalize it by going to an educational institution. Even without his knowledge, probably started much earlier to turn to the discipline of projection, curiosity and intellect seeking to accommodate the ability to create worlds, little worlds, little or large communication events. It is obvious that the training process does not end or anything, on leaving school ... education centers classical design paradigms, such as the Bauhaus and Ulm, Basel Swiss schools, independent schools or New Yorkers as Canbrook School of Visual Arts, the Royal Art College of London, etc., have been planted stones in the programming of a design education, with a marked emphasis on formal and formal applied. More closely in time, this area of \u200b\u200badvocacy, has shifted to the study of facts as conforming design of culture, assuming as valid the boomerang effect constant feeding and feedback as you do with what was done, sometimes new meaning, sometimes placing it as part of a widening repertoire of possibilities.
didactically To move in that space is essential to the implementation of a comprehensive design methodology, road signs and safely chaotic: the insertion in the world "global" in this profession from an approach to the systemic, understood as a horizontal relationship and multipoint with everything that makes up human existence.
formative processes "design" based solely on the acquisition of a corpus of computer literacy and / or processes for specific use or specific software packages, "typical of schools and institutes unscrupulous people who sell and certify the illusion of knowledge in three months, are instrumental simple changing tools, disposable and easily apprehended by anyone with minimal cultural training, and when the results are as rich or as empty as that for what they are used to ... So the dependency constraints that they develop. That kind of knowledge-and the lack of essential training workshop is as foreign-referential design as can be, "without going any further," the deepest knowledge in the discipline of an agronomist of the raisons d'être of a zen garden .
is essential to respect each individual, non-transferable share their own creativity and ability to project. As Gill said, referring Dorfles-just-a way of teaching and learning characteristic of Zen, as we can understand a Westerner, it is "assist learning the disciple "1. Search expand his knowledge, provoking, enticing, commanding sweeping and sometimes beating (figuratively, please) a skull in this area particularly hard, knowing that, as Guillermo Cabrera Infante joke "all men are equal but some are more equal others "2.
Learning design is a very serious business, and also and above all it is taught. Both ends require many years of training, reflection and practice. Together with more years of curiosity and daring experimental search, which are elements common to both sides of the educational process in design. The internalization of the gaze, the look is no longer measured in inches or millimeters elements we use, but in communication skills for which there is - or at least can not be readily accessible-units of measurement. How do we assess impact, poetry, identification, communication or its opposite inevitable? It's so hard to define the concept "quality". But conscious of knowledge accumulation is giving us clues to understand and above all, feel.
The transmission process knowledge of the design is for both teachers and students, exchange of experience and inexperience in learning what is now one of the most universal of languages \u200b\u200band as such needs at the same time, assume that "no rules", a deep immersion in the means and tools and a very precise and free swim in the crowded pool of securities.
"No rules", a concept that refers to the institutionalization of projecting a kind of anarchy. Creativity is not synonymous with anarchy and lawlessness is not synonymous with disorder. In many cases there are no rules because they are needed or rather because the potential to detract them the slogan that, in design, "we can do anything."
But once again the paradox: do whatever it has no other meaning than fully open the windows of imagination and take what we see there, which to our free apparently contributes to better meet the objective of the project.
basic processes of teaching design disciplines are very simple and transparent as they are the rudiments of ballet, for example, some positions básicas que se despliegan al infinito con la práctica y la suma de conocimiento, destreza y sensibilidad. Pertinencia del mensaje, conocimiento y manejo de las condicionantes culturales, presupuesto, estructura, color, ilustración, tipografía son algunos de los ejes sobre los que gira la enseñanza y por consiguiente el aprendizaje.
También, se hace necesaria la reflexión constante sobre el mundo propio, los gustos, las fobias, la música, el cine, en una palabra: el contexto personal como «container» y materia prima de nuestros métodos de trabajo. El desarrollo de la sensibilidad, práctica que no condice con una formal methodology, but with a "follow the thread" that leads through music, readings, films and even the contemplation of what happens through the window of the bus.
But just not healthy for a psychologist or a psychoanalyst to pass it by analyzing each attitude or event that happens to himself or those around him, the designer must be very clear when individual Typically, when professional, as it is a part that makes it possible for the other game in the old circular to be and do.
1. Dorfles, Gillo, Symbol, communication and consumption. Barcelona, \u200b\u200bLumen, 1984
2. Cabrera Infante, Guillermo, Three Trapped Tigers, Seix Barral, Barcelona, \u200b\u200b1969
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