INTRODUCTION
Graphic design originated from the marketplace, distinguishing designers from fine artists by serving a purpose beyond mere aesthetics Its primary function is communication, encompassing economic, social, and political messages In today's rapidly evolving landscape of information and technology, globalization plays a significant role, allowing even the average individual to engage in this dynamic field.
Napster, YouTube,or a news blog can bring a media institution to its knees Yes, Toto, we are not in Kansas anymore Modernism is no longer enough
A modern graphic design curriculum must evolve to meet the demands of the twenty-first century, reflecting the skills and knowledge required by future design professionals These designers will need a comprehensive understanding of the marketplace's nature, processes, and language, becoming specialists while remaining well-rounded They must embody various roles, including thinkers, innovators, collaborators, and entrepreneurs To achieve this, the design curriculum should be flexible, open-ended, integrative, and continuously evolving, functioning as a dynamic and adaptable framework that fosters interdisciplinary and trans-media learning.
This thesis advocates for embracing our past and building upon the foundational ideas of our modernist predecessors, particularly the Bauhaus model established by Walter Gropius in 1919, which integrates fine arts and apprenticeships in design education By remixing and expanding upon antiquity with new methods, we can create a better future Understanding historical concepts is essential for progress, and the extensive research, observations, interviews, and my nine years of experience in the design field provide the intellectual basis for this innovative approach.
YES, MASTER FROM VOLUNTEER SLAVERY TO STANDING ON
Despite being in the postmodern era, graphic design education continues to adhere to modernist principles, as noted by Natalia Ilyin in her book, Chasing the Perfect Icon magazine recently suggested the need for a new "ism" to define the twenty-first century, prompting a reevaluation of current design paradigms.
The question of what follows modernism remains unanswered, leading to a metaphorical consideration of dismantling established frameworks like the Bauhaus Utopia is unattainable, and this reality is part of the beauty of life, which thrives on change and chaos Despite our attempts to create order through design and technology, we cannot ignore the significant transformations occurring around us As Natalia Ilyin aptly states, modernists constructed a restrictive framework that shielded us from the harshness of reality It is crucial for educators to embrace these changes, ensuring that higher education evolves to meet the demands of our interconnected, hypermodern society Today's design education must focus on preparing content creators and business partners rather than merely producing rule followers and visual stylists.
The new model of "hypermodernism" must learn from our valuable past, unlike postmodernism, which overlooked it Recent trends show a resurgence among students favoring the Swiss International Style, characterized by complex grids, white space, and typefaces like Akzidenz Grotesk and Helvetica, but this approach is becoming stale A conversation with a talented student highlighted the risks of merely replicating past styles without innovation To progress, we must integrate the principles of the Bauhaus, the International Style, and postmodernism while addressing the complexities of modernization and pushing beyond these foundations.
A future educational model must be eclectic, interdisciplinary, self-organizing, collaborative, and customizable, resembling a "choose your own adventure" approach To effectively prepare students for ongoing change and complexity, a flexible and adaptable curriculum is essential Throughout my nine years of teaching the senior-level course ART 4555, I have never delivered the same content twice, highlighting the need for dynamic teaching methods.
In the past nine years, we have witnessed the rise and fall of the Internet, prompting a need for a flexible business model that can adapt to changing technologies While it is essential for higher education to maintain a solid foundation, it must also evolve beyond traditional practices and mass production As creatives, we should embrace a "best of" approach, remixing and expanding upon existing ideas to forge a new visual language for the twenty-first century M Jayne Fleener emphasizes that the rhythm of the curriculum is vital for schools as learning organizations, highlighting the importance of adaptability in education.
Reduction Mass-Production Abstraction modernism hypermodernism
Figure 1 A Hypermodernist curriculum would be totally integrative, combining past, present and future.
BURNING NEW SYNAPTIC PATHWAYS IN HIGHER EDUCATION
Decentralized collaboration among self-interested individuals often yields superior solutions compared to top-down directives This phenomenon is exemplified by the success of open-source projects like Linux, demonstrating the power of collective intelligence.
Decentralization fosters specialization, self-direction, and effective collaboration, enhancing problem-solving in design According to educator Lev Manovich in his work on Remixing and Remixability, designers leverage diverse software and media to achieve their goals Therefore, the curriculum should incorporate this dynamic and hybrid approach to reflect contemporary design practices.
The development of higher education programs is currently influenced by ongoing budget cuts, rising instructional costs, and fierce competition from both traditional universities and for-profit online programs, alongside a global knowledge explosion This environment has prompted a shift towards a more market-driven approach in higher education, raising concerns about maintaining traditional values and core objectives Additionally, the hierarchical structure and top-down management prevalent in higher education often lead to gridlock and resistance to change, with many institutions reverting to their established territorial silos.
Several innovative universities and art schools are exploring new educational models, notably the dual design and business master’s degree program at IIT and Georgia Tech's Master of Science in Information Design and Technology (IDT) The IDT program, located within the School of Literature, Communication, and Culture, boasts a diverse faculty with expertise in fields such as English, Art, Law, Classics, Film, Performance Studies, Mathematics, and Computer Science.
The Designonline course at Art Center College of Design utilized the school server and iTunes to deliver content through audio and video podcasts, effectively leveraging the capabilities of our software.
To enhance education, we must integrate "import" and "export" concepts across various dimensions, including time, space, disciplines, universities, industry, and technology It is essential to broaden our visual language and innovate new educational formats, as we are fundamentally designers.
To thrive in today's competitive marketplace, designers must possess a diverse skill set that includes conceptual, critical, and strategic thinking They need to be proficient in various software and media, understand the core principles of visual design, and have a solid grasp of business, entrepreneurship, cognitive psychology, and cultural anthropology Design programs can address this demand by creating innovative, open-ended models that integrate technology and bridge disciplines, universities, and industries, focusing on customization, collaboration, and self-direction.
Laszlo Moholy-Nagy, in his 1938 work "New Vision," emphasized the importance of integrating knowledge across various fields, highlighting the role of imaginative individuals as integrators in a rapidly changing world He foresaw the necessity for a synthesis of intellectual achievements in politics, science, art, and technology Today, this integration is even more crucial due to the accelerated pace of information exchange Design educator Gunnar Swanson supports an adaptable curriculum that reflects the interdisciplinary nature of design To innovate in design education, I propose a departure from traditional higher education models by creating collaboratories that embrace an open specificity approach, akin to the collaborative development seen in Linux and the Dutch design firm Droog.
The common denominator for this series of remarkable products is their ability to combine mass production and individual identity
Droog Design products have added a new dimension to the word customization (Renny Ramakers and Gijs Bakker, Simply Droog [Amsterdam: Droog, 2004], 58)
Collaboratories should leverage faculty strengths to develop innovative offerings that exceed industry standards Rather than duplicating services and classes beyond their capabilities, students should be permitted to enroll in specialized courses at other departments or universities This can be achieved by easing transfer policies and allowing program customization, ultimately reducing costs as departments won't need to cater to every need The focus should be on creating a new curriculum that reflects these principles.
Frank Tjepkemas and Peter van der Jagt's Do Break Vase, created in 1999 for Droog, features a unique design that incorporates a silicon lining on the inside, allowing it to be smashed while remaining intact This innovative approach exemplifies their philosophy of open specific design, combining mass production with customization to create a one-of-a-kind vase for each user.
1 Decentralized- allowing for self-organization, customization and adaptation
2 Strategic- focused on strengths with a clear identity
3 Trans-time and trans-media- anywhere, anytime education
4 Connected- partnerships with other departments, universities, and industry
5 Experiential- how to learn, not what to learn, independent inquiry, students as content creators
6 Hybrid - team teaching, faculty as “knowledge brokers”
7 Transparent - free flow of information, trust, no more silos
8 Rewarding- favoring collaboration and accountability
9 Visionary- develop new hybrid courses such as Trans-media Typography, Design Entrepreneurship, Communication Methods, etc.
To enhance revenue streams, consider leveraging existing staff, equipment, and facilities by creating alternative income sources such as precollege programs, online courses, subscription-based e-newsletters, and professional workshops These initiatives can be scheduled on weekends or during summer breaks and can provide valuable employment opportunities for graduate students and recent graduates.
The objectives align seamlessly with the fundamental principles of higher education, including academic freedom, the safeguarding of cultural institutions, and the pursuit of scholarship It is essential to create an environment that attracts individuals; otherwise, others will seize the opportunity and establish it in our absence.
COLLABORATORIES THE CASE FOR DESIGN
The shift from the Information Age, characterized by "left brain" dominance, is leading to a new era where "right brain" attributes such as creativity, empathy, and purpose take precedence In this evolving landscape, a Master of Fine Arts (MFA) is becoming as valuable as a Master of Business Administration (MBA).
As mentioned previously, business magazines abound with articles bearing such titles as
Design is rapidly emerging as a crucial business imperative, bridging the gap between creative and analytical thinking Leading institutions like Stanford's Institute of Design are introducing programs that emphasize the importance of design in the modern business landscape While some in the business sector may dismiss design as a "soft discipline," those who recognize and leverage its potential will thrive The distinction lies in understanding design not just as a noun—something to observe or outsource—but as a verb that embodies a dynamic process of conception, creation, and execution Embracing this perspective is essential for success in the twenty-first century.
The iPod exemplifies the seamless integration of superior design in every aspect of a product, from its packaging and advertising to user experience and tech support Design is now a fundamental component of the business cycle, highlighting the growing interdependence between design and business As designers take on the responsibility of managing large global brands, it is crucial for design schools to adapt their curricula to prepare students for this evolving landscape.
To effectively bridge the gap and establish business partnerships, design students must be proficient in the language, processes, and practices of business to fully understand their clients' needs.
In recent years, an increasing number of students have sought my guidance on launching their own design firms, licensing and manufacturing product lines, and establishing related businesses.
Last spring, I visited Insead, the international business school near Paris, which has formed a unique partnership with Art Center College of Design in California This collaboration paired MBA teams with graduate design students, assigning them real industry partners to develop business models The outcomes were impressive, and follow-up evaluations revealed that the primary challenge was overcoming the language barrier between the disciplines This summer, I attended a seminar by the Design Management Institute.
“Integrating Design into Strategic Management Processes,” I realized that the job of the designer and the business manager are more alike than different The instructor, Dr Ron Sanchez,
Professor of Management from the Copenhagen School of Business, described a manager’s job
Managers and designers both tackle intricate challenges repeatedly, creating strategic plans to navigate complexity and change They develop systems and engage in problem-solving, blurring the lines between their roles.
Educators must develop innovative programs that integrate commerce into design education, equipping students with essential skills for collaboration with businesses and fostering their entrepreneurial ventures Implementing hybrid courses alongside marketing and business departments, as well as offering design entrepreneurship coursework, can effectively meet these objectives Additionally, creating student-run design firms and developing tools for business audiences provide valuable professional practice opportunities These initiatives have been successfully executed in the Graphic Design Student Office at LSU and in the ART 4555, Advanced Graphic Design course, which will be explored further in the subsequent chapters.
EXQUISITE CORPSE THE HEAD, HAND AND HEART MODEL
As a design instructor, I've observed that students, while developing their design consciousness, typically fall into one of three distinct categories, with some overlap among them.
The Master of the Universe in design embodies a strategic and persuasive approach, focusing on the development of businesses, brands, and product lines Notable figures in this realm include Michael Graves, Rudy VanderLans, and Yves Behar, who exemplify the powerful impact of design in shaping successful enterprises.
2 ROCK STAR (HAND) - it is all about them and finding and selling their own “style” as a means to an end (e.g., Eboy, David Carson, Stefan Sagmeister).
Superhero designers, such as Bruce Mau and James Victore, aim to transform the world through their work, using design as a powerful tool to provoke thought and inspire action They are deeply committed to social responsibility and address critical issues like sustainability, striving to create meaningful change in society.
A new educational model must be flexible and inclusive to meet the diverse needs of students, preparing them to become design leaders capable of managing complexity and developing innovative trans-media communication methods As Zen Master Suzuki Roshi wisely states, “To control your cow, give it a bigger pasture.” This approach will elevate design from a mere craft to a significant driver of economic and societal change, empowering the next generation of design leaders to tackle the challenges of the twenty-first century.
In the 1934 film Metropolis by Fritz Lang, the quote “Between head and hands must be the heart” serves as a powerful metaphor for a new educational model This self-organizing, modular ecosystem is designed for adaptability and modification, empowering students to craft their own academic journeys At its core, this model emphasizes the importance of humanity, allowing each student to create their own unique “exquisite corpse.”
The program model effectively combines business, art, and human elements through its head, hand, and heart modules Research indicates that collaboration between business (head) and art (hand) leads to enhanced solutions, products, and services that benefit society (heart).
11Figure 3 The Head, Hand, & Heart Design Curriculum Model
To enhance flexibility in education, requirements should be adjusted to allow for interdisciplinary options and choices beyond traditional university settings, including other accredited institutions and online programs This approach aligns with James Paul Gee’s “36 Learning Principles” from his book, "What Video Games Have to Teach."
Us about Learning and Literacy,principle number 36 states, “The learner is an ‘insider,’
Educators and producers, rather than mere consumers, have the ability to tailor the learning experience and the domain or game from the outset and throughout the journey Each student can create their unique "exquisite corpse" to achieve their individual objectives.
To address the new challenges faced by students, it was essential to enhance the creative problem-solving process alongside the new curriculum model This led to the development of the HEAD, HAND, & HEART MATRIX (Figure 5).
Figure 4 The Head, Hand, & Heart Customized Student Program Model
14Figure 5 Head, Hand, & Heart Matrix
IT’S ALIVE CONTENT CREATORS: THE POWER OF DESIGN
To achieve the goals of this thesis, research and implementation of model components were essential As Professor Rod Parker emphasized, the aim is to present the world in a new light, making the familiar seem strange and illuminating overlooked aspects The Graphic Design Student Office (GDSO) at Louisiana State University plays a crucial role in immersing students in the language and processes of business This award-winning, student-run design firm, guided by faculty, fosters a service-learning environment focused on practice rather than profit, benefiting both LSU and the local community GDSO highlights the significance of exceptional design and its vital influence on businesses and society, bringing together a diverse group of passionate students dedicated to strategic and aesthetic excellence.
Following a Deep Dive session on IDEO's creative problem-solving methodology, we conducted a survey among faculty and students regarding the MaD Lab, the current home of GDSO The findings indicated a need for a multipurpose space that would accommodate classroom and presentation areas, an office, overflow workspace for GDSO, and a library meeting space In response, we created a space plan, cleared the back room, organized the technology closet, and updated the decor and furnishings The lab is now effectively utilized as a classroom, workshop, think tank, design office, library, and meeting venue.
Now that the space was organized, it was time to expand the students’ skill set The following inquiry-based learning module was assigned to GDSO students:
GDSO Research Project 1 Design + Business
As a long-time partner in a design firm, I have seen the significant impact design has on the marketplace GDSO aims to immerse professionals in design practice, presenting an opportunity to educate the business sector on leveraging design as a strategic asset This challenge arises from the predominantly analytical nature of business thinking Our mission is to "recontextualize" design education, providing it with a fresh purpose for this audience To address this gap and ensure GDSO's future as a self-sustaining entity, I propose a project focused on building this essential bridge.
• Name of entity (business & design, think acronym or other clever term or combo that would appeal to corporate types)
• Focus on the value design adds to business and how important it is to involve designers at the beginning of the process (strategic planning and all phases)
• Develop corresponding website, white papers (freeware/shareware initially), and video podcasts
• Begin with a brief e-newsletter or QuickTime movie about a topic that all partners would relate to
• Include links, good books to follow up with, etc.
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A questionnaire was created to assess business professionals' attitudes towards design and their preferences for related topics and presentation modes Students from design and mass communications collaborated to edit and distribute the survey via www.surveymonkey.com The survey reached a diverse population in terms of business fields, cultural backgrounds, and ages, facilitated by its administration at Insead, the University of Mississippi Business School, and four Fortune 500 clients Key findings are illustrated in Figure 6.
The next step involved translating our findings into actionable steps, leading us to the naming of the new entity A brainstorming session generated a variety of options, from which we selected the top three to include in a survey Ultimately, "Improving Business by Design" emerged as the preferred choice.
17Figure 6 Business Professionals’ Survey Highlights favorite of business types, the designers loved the acronym G.R.I.D.,which stands for Get
The voting results aligned with our expectations, revealing a clear divide: left-brained individuals favored the literal name, while right-brained participants preferred the conceptual, art-inspired option Ultimately, we reached a compromise by selecting a name that reflects both perspectives.
D2B, or Design to Business, highlights the preference of business professionals for PowerPoint and e-newsletter formats to receive design-related information In response, a series of engaging web modules were created, offering concise and humorous tutorials on design principles, practices, and processes Additionally, supplementary materials, including a handbook and Keynote presentation for GDSO, were developed to emphasize the value that design brings to business.
I developed a precollege design, entrepreneurship, and technology program called White Space for high school students at Louisiana State University and the Jetson Correctional Institute The name, inspired by a term from Wired magazine's Jargon Watch column, refers to a potentially lucrative market lacking existing products or services due to a lack of innovative thinking The program's mission and vision focus on fostering creativity and entrepreneurship among students.
White Space is a year-round, non-profit educational program designed for high school students, focusing on the development of art, design, technology, and entrepreneurial skills This initiative empowers students to make a meaningful impact in the world while equipping them for higher education and future professional careers.
White Space is dedicated to fostering the minds and self-esteem of youth in Louisiana through art and design, which not only enhances creative thinking skills but also instills a sense of civic responsibility This commitment aims to positively influence the economy and culture of the state, building a strong foundation for vibrant communities.
The Head, Hand, and Heart Model emphasizes the importance of students as content creators rather than passive learners Garth Holmes, a recent Graphic Design graduate and GDSO member, is collaborating with me on the White Space initiative, focusing on researching grant opportunities, developing a budget, and writing a grant proposal.
19 Figure 7 Web tutorial on the topic of the design principles of
The C R A P principles—Contrast, Repetition, Alignment, and Proximity—provide a framework for developing a new identity and marketing materials for my senior class, ART 4555 A team of five students, guided by Rod Parker, associate professor of Graphic Design, and Stuart Baron, director of the School of Art, is leading this initiative We aim to foster collaborations with other disciplines, having already partnered with Mass Communications for their National Campaigns Competition and engaged with the Ourso Entrepreneurship Institute regarding their National Business Plan Competition.
Another group of students in ART 4555 is working this semester with Erin McKean, editor of the Oxford American Dictionary.I met Erin at The Art Center College of Design’s
At the "Radical Craft Conference" in March, a challenge was posed to design educators to innovate the dictionary, a product that has remained unchanged for a century, by "creating suicide doors." This initiative encourages a reimagining of the book concept and exploration of future technologies for content delivery In response, my students are engaging in remarkable research in collaboration with renowned font designer and LSU alumnus Tal Leming, aiming to develop a highly condensed font that can effectively present the vast content of the dictionary.
To bridge the gap between designers and business professionals, I have noticed longstanding preconceived notions about each other during my time as a partner in a design firm Insights from a recent questionnaire and my visit to Insead reinforced this observation In response, I created a short film titled "Head, Hand, & Heart A Merger of."
Epic Proportions(Figure 8) as an icebreaker, and a learning module called A Whole New
Mindsetfor business educators (Appendix C) to pave the way for incorporating design method- ology into the business process.
This was followed by the creation of the D2B Web site (Figure 9) and the first learning modules for our business partners Using a contemporary and humorous, yet professional tone, I
CONCLUSION
The October 9, 2006 issue of Business Week highlights the world's top design schools, revealing that a significant number are business or engineering institutions Out of the 60 schools featured, only 15 are dedicated to art and design in the United States.
U.S schools, particularly those focused on business, engineering, and technology, must adapt their curricula to equip design undergraduates with the skills necessary for the challenges of the twenty-first century, including information expansion and globalization Designers, as polymaths, require a comprehensive understanding and the ability to identify patterns within complex information To foster these skills, educational institutions must overcome the hierarchical structures that hinder innovation in teaching methods Additionally, higher education should explore new revenue streams, such as the White Space precollege program and the D2B website, alongside professional workshops and online classes The income generated from these initiatives can support the expansion of facilities and enhance offerings across all levels of design education.
“demonstrate” the value of design and design thinking, not merely talk about it
Design thinking has emerged as a vital strategic tool in business, necessitating that designers communicate effectively with business managers who often face overwhelming challenges As Brigitte Borja de Mozota highlights, design can clarify and visualize strategy Therefore, it is essential for designers to be trained in developing straightforward and effective strategic tools that simplify managers' tasks, foster the creation of valuable products and services, and ultimately contribute to societal transformation The models and tools presented in this thesis represent progress in this area, but further action is required Design schools, as the custodians of design thinking, must take the initiative to lead and innovate educational approaches to avoid becoming obsolete.
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1 Do you consider design a strategic tool in business?
Totally agree Partially agree Neither agree nor disagree Partially disagree
2 Do you feel that design can create new demand for a product or service? Totally agree
Partially agree Neither agree nor disagree Partially disagree
3 Are you ever responsible for design-related decisions at your job? Every day or more
Two to five times a week Once a week
4 Are you expected to have design knowledge in your present occupation? Extensive knowledge
Some knowledge Very little knowledge
5 What is the extent of your knowledge of the principles, process, and practice of design? Extensive knowledge
Some knowledge Very little None
6 What is the extent of your experience working with designers?
Extensive experience Some experience Very little experience None
7 Which field of business most applies to you?
Marketing Sales Management Public Administration Finance
8 Which age range applies to you?
9 Which response applies to you?
10 Which is the highest level of education you have completed?
High school Associate’s degree Bachelor’s degree Graduate degree Other
11 How would you prefer to receive future information on the strategic use of design in business?
Workshop PDF Not interested Other
12 Which of these titles would you be most likely to read?
G.R.I.D Get Results, Incorporate Design Improving Business by Design
D2B Design to Business None of the above
13 Would you be interested in attending Improving Business By Design workshops? Very interested
Somewhat interested Slightly uninterested Totally uninterested
14 Which of these topics would be of interest to you in your job? Check all that apply.
Dr Frankenstein was a Designer: Design Mavericks (Case Studies) Design Entrepreneurship
Process, Principles, and Practice of Design Corporate Identity
Corporate Communications Design Management Product Innovation Strategic Branding and Design Managing Web Design
Self-Promotion Generating Ideas Innovation/Creative Problem Solving Information Design
Presentation Design Top Ten Ways to Kill Innovation
50 Ways to Heighten your Design Perception Corporate Identity Makeover
Packaging Environmental and Workplace Design Production and Printing 101
Design as a Strategic Tool in Business
15 How would you rate your experience with utilizing design in business? Excellent
Good Poor Very poor Not applicable
16 What is the most frustrating aspect about working with designers/creatives? Creatives don’t get how business works
The creative process is chaotic Design is hard to measure Not sure of the value Other
17 Can you please describe an exceptionally good or bad design experience you have had.
18 How would you improve the business-design team experience?
Better communication More measurable results More focus on business strategies Better understanding of the creative process Better method of bridging the gap between the two worlds Other
19 What do you consider to be the main objective of “good design?”
To maintain a consistent corporate image
To create brand awareness among consumers
To aid in targeting consumer audiences
To aid in operational excellence Other
20 Would you like to be added to our mailing list and to receive notice of future workshops, e- newsletters, etc.?
E-mail _ (Your information will be kept confidential and your e-mail address will not be shared with anyone else.)
White Space n A potentially lucrative market for which no products or services yet exist— because nobody has thought to make people desire those hypothetical products or services.
WHITE SPACE is an innovative program designed for high school students at Louisiana State University and at-risk youth at the Jetson Juvenile Corrections Program This initiative is a collaborative effort between Louisiana State University and the Office of Youth Development, focusing on design, entrepreneurship, and technology education.
White Space is a year-round, non-profit educational program that empowers high school students to cultivate essential skills in art, design, technology, and entrepreneurship This multidisciplinary initiative prepares students for higher education and professional careers, equipping them to make a meaningful impact in the world.
White Space is dedicated to fostering the creative thinking skills, self-esteem, and civic responsibility of our youth, which in turn enhances the economy and culture of Louisiana Through art and design, we aim to open minds and lay the groundwork for thriving communities.
III Goals - Year One Goals
1 To increase awareness as to the value of design and art, what the different disciplines of design and art are, and how they can affect business and society.
2 To encourage students to stay in school and show them that there are education and career opportunities for students who are more right-brained.
3 To provide high school students with an outlet for their emotions and talents.
4 To expose at-risk high school students to the arts, and educate them as to the impact they have made on society throughout the ages
5 To educate at-risk high school students in the basic and professional skills necessary to make the transition to trade school, higher education or the workforce.
6 To develop a program that is self-sustaining and will serve as a potential recruitment tool for the college-level program.
Jetson partners provide service-learning mentorships for current undergraduates, facilitating peer-to-peer learning and teaching opportunities for all students This initiative also allows students to create and develop their own learning modules.
8 To provide job opportunities for recent graduates and professionals in the community and encourage them to stay in Baton Rouge.
9 To expand the mission of the Graphic Design Student Office, a student-run design agency at LSU, to include a partner agency at Jetson
1 To expand the curriculum and broaden the program
2 To include courses in all the art disciplines
3 To partner with other disciplines such as LCAT, Mass Communications, as well as the Shaw Center and the Ourso Entrepreneurship Institute
4 To provide scholarships and internship opportunities for at-risk youth and the underserved in the community.
5 To develop and implement entrepreneurship opportunities for student agencies at LSU and Jetson.
High school students, particularly those at risk, often possess a unique blend of creativity and open-mindedness They are artistic and sometimes unconventional, using humor as a tool for expression For many, art serves as a vital outlet and a safe haven, allowing them to navigate their experiences with a discerning perspective.
“poseur.” Very bright and inquisitive, though not necessarily in traditional core subjects like math
• Stipends (Program Director, Coordinators, Faculty, etc.)
• Furniture for lab and office
• Video and digital cameras, tripods, etc
VI Grant and Funding Sources
• Dr Ronald Feinstein, M.D., LSU Health Services
• Grants for Arts Projects: Learning in the Arts for Children and Youth (up to $150,000)
• George Lucas Educational Foundation (GLEF)
• The Graphic Arts Education and Research Foundation (GAERF)
• American Institute of Graphic Arts (AIGA)
• Choose Your Own Adventure Web Design - beginning web design using PhotoShop and ImageReady
• Teen Entrepreneurs - create and develop own product idea (game, clothing, etc.), logos, ads, packaging and product sketches
• Teen Zines - beginning page layout and illustration using InDesign and PhotoShop
• Comic Books and Storytelling - storyboards and illustration using Illustrator
• 3D Modeling or Podcasting - depending on staff availability
Ten-week Saturday classes are priced at $350 for digital classes and $250 for non-digital.
An additional supply list and cost will be provided each student (~$40-50) If we estimate 18 students per class, first-semester potential income could be $34,200 before expenses
APPENDIX C - A WHOLE NEW MINDSET INFUSING THE BUSINESS CURRICULUM WITH DESIGN METHODOLOGY
Business and design education should merge to effectively address the challenges of the 21st century The integration of these fields is essential for fostering innovative thinking and strategies in modern business practices, as emphasized by Roger Martin, Dean of the Rotman School of Management.
A few years ago, I visited "The Art of the Motorcycle" exhibit at the Guggenheim in New York with a business associate This unique exhibit showcased the chronological history of motorcycles, highlighting the evolution of iconic brands like Harley, which has embodied coolness since 1903.
We offer the experience of a 43-year-old accountant who transforms into a figure of authority and intrigue, dressed in black leather and riding through small towns, instilling a sense of fear This vision, inspired by my design background and my associate's expertise in advertising, became evident during the show, particularly at the iconic spiral's midpoint, where The Flying took center stage.
The Merkle, with its bright orange color and unique design reminiscent of a girl's bicycle, exemplifies poor design choices at every level, from its circus-like name to its clownish appearance In stark contrast, Harley-Davidson understands its audience, ensuring that great design is central to everything from their motorcycles and showrooms to their corporate culture and advertising.
Leading companies like Apple, Starbucks, JetBlue, Target, OXO, and FedEx exemplify the power of design thinking in their operations Many new clients express a desire to emulate these brands, highlighting their influence In the context of a rapidly changing global business environment, as noted by Dan Pink in his book *A Whole New Mind*, the key drivers of change include overabundance, the rise of Asia, and automation, suggesting that a Master of Fine Arts (MFA) is becoming as valuable as a Master of Business Administration (MBA) The era of the Information Age has evolved, emphasizing the importance of design in business strategy.
Business schools must create curricula that foster R-directed thinking skills in future leaders The business sector is often resistant to change, and higher education is even more so If higher education were a corporation, it would have ceased to exist two decades ago To shift the mindset of the business world, we need to initiate change within educational institutions.