What Does Dilnot Teach The History Of Graphic Design
by Michael J. GolecJune
To insist that, or to prescribe how, the history of graphic design need be taught in any particular way is to unnecessarily limit the field in both methodology and pedagogy. Since there is no consensus amongst historians of graphic design on what the history of graphic design is or what it should be, no scholar studying the subject should commit to any one way of researching, writing, and teaching. I suspect that if a scholar were to approach the question of how to research, write, and teach the history of graphic design, he or she may begin with a careful consideration of audience. What constitutes an audience for the history of graphic design? Do multiple audiences exist? What are the constitutive aspects that make up an audience member? What are his or her …show more content…
In an interview with Steven Heller in Design Dialogues, the late Philip Meggs discussed the importance of the combination of lecture and studio. Meggs said, "I've always believed the purpose of teaching design history is to strengthen studio education and professional practice." It is important to note that Dilnot and Meggs are not saying the same thing. On the one hand, Dilnot makes an observation about one aspect of the history of graphic design, that it has influenced the dynamics of studio instruction. On the other hand, Meggs prescribes the role of the history of graphic design in service to the general education of the student of graphic design. In doing so, Meggs assumes that the history of graphic design, in that it has a "purpose," is the sole domain of graphic designers. Such a designated direction, no doubt, has had a profound effect on how the history of graphic design has been taught in an academic
To insist that, or to prescribe how, the history of graphic design need be taught in any particular way is to unnecessarily limit the field in both methodology and pedagogy. Since there is no consensus amongst historians of graphic design on what the history of graphic design is or what it should be, no scholar studying the subject should commit to any one way of researching, writing, and teaching. I suspect that if a scholar were to approach the question of how to research, write, and teach the history of graphic design, he or she may begin with a careful consideration of audience. What constitutes an audience for the history of graphic design? Do multiple audiences exist? What are the constitutive aspects that make up an audience member? What are his or her …show more content…
In an interview with Steven Heller in Design Dialogues, the late Philip Meggs discussed the importance of the combination of lecture and studio. Meggs said, "I've always believed the purpose of teaching design history is to strengthen studio education and professional practice." It is important to note that Dilnot and Meggs are not saying the same thing. On the one hand, Dilnot makes an observation about one aspect of the history of graphic design, that it has influenced the dynamics of studio instruction. On the other hand, Meggs prescribes the role of the history of graphic design in service to the general education of the student of graphic design. In doing so, Meggs assumes that the history of graphic design, in that it has a "purpose," is the sole domain of graphic designers. Such a designated direction, no doubt, has had a profound effect on how the history of graphic design has been taught in an academic