|
Graphic
Design and Fine Arts
Graphic Design and Fine Arts programs co-exist as departments
or disciplines within the school or college, and invariably,
they impact on one another. Within a historical context, Fine
Art programs were the first to be introduced into universities,
and they were the dominant program at most regional art schools.
During
the past twenty years, Graphic Design students have equaled
or outnumbered Fine Art students. However, Fine Art faculty
and concerns are frequently the dominant influence in shaping
graduation requirements and operational policies in visual
art programs. This is particularly so at state universities.
Graphic
Design seldom has program staffing comparable to that assigned
to Fine Arts. The number of one to three faculty members assigned
to Graphic Design at state universities is testimony to this
factor. The same has been true with allocation of studio space,
especially that which is dedicated exclusively to Graphic
Design. Because of less faculty, the influence of Graphic
Design in shaping curriculum and graduation requirements for
its students has been severely limited. Even today in universities,
Graphic Design students are required to take numerous Fine
Art courses and credits in the major are less than required
for professional education. The first year general foundations
program is completely dominated by Fine Arts.
Since
the period of student activism during the late 1960s, Fine
Arts and Graphic Design educational practices and goals have
been in a state of growing divergence. Fine Arts has moved
toward expression and the making of art rather than instruction
in visual art with a corresponding breakdown of studio disciplines.
Graphic Design has moved toward professional education and
increasing emphasis on pedagogy and technical education. As
a consequence, many Graphic Design programs now incorporate
a number of courses that traditionally they relied on Fine
Arts to teach. Drawing is perhaps the most notable of these
courses.
Because
of the shift of student population from Fine Art to Graphic
Design, there is considerable insecurity among Fine Art faculty
members that if Fine Art courses do not remain required for
Graphic Design students, there will be a shift of faculty
lines from Fine Arts to Graphic Design with a decline in the
influence of Fine Arts in shaping policies and requirements
for graduation.
Fine
Arts engenders an enormous amount of personal ego which makes
cooperative effort between divergent programs difficult. It
also is often expressed as contempt for Graphic Design as
being commercial while Fine Arts are directed toward a more
noble pursuit of art for its own sake.
Against
this background, Graphic Design programs have struggled for
years with varying degrees of success. My strategy was to
identify Fine Art faculty members that I could respect and
made a special effort to cultivate a relationship with them.
I would discuss our needs with them socially, and encourage
them in matters that were beneficial for students and Fine
Arts. For instance, a young drawing teacher who emphasized
fundamentals. When important department, curriculum, tenure
or other such meetings were scheduled, I would consult with
these individuals before hand to make as strong a case as
possible for those things I felt to be essential for Graphic
Design.
|
