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• W83666911 abstract "This paper shares an exploratory and inquiry-based graphic design project and the resultant pedagogic approach that offers Arts and Design educators ideas on teaching to instigate positive social change. The author summarizes a year-long fellowship project where he worked as a change agent in service to a partnership of six non-profit, after-school arts programs in ProvidenceRhode Island who are organized as the Providence Youth Arts Collaborative (PYAC). The intention of this project was two-fold. The primary effort was to investigate ways graphic design can be strategically used to seed interest and empower youth to make positive choices with how they spend their time after school, such as enrolling in a free PYAC member Arts program. The second aspect was to use design to strengthen the visual identity of PYAC in order to unify their voices and improve their offerings. The design process and the visual outputs are presented as a model for teaching at high school and college levels that cultivate awareness of the social power of visual communication and a civically engaged process. Systems thinking and theoretical models of social change are discussed in support of the project intentions. From the printed word to Graphic Design Since the birth of Typography in the middle 1400s, religion, politics, and industry have utilized the power of the printed word and image to benefit their communication needs. Over time, a sophisticated commercial art evolved to service those needs, which was later termed Graphic Design. Graphic Design shapes visual culture and can be part of society’s problems as it may be used to fabricate artificial need and desire. It also holds potential to benefit the greater good because it has the power to shape how we perceive our environment and therefore how we live. Design education equips students well to meet the demands of commerce, but it could better nurture its potential to influence the greater good. For that to happen there needs to be teachable alternatives to the dominant commercial and client-driven practice model. As educators we can offer alternative models that cultivate a critical involvement with the practice to enable students to transform their world. The graphic designer Jan Van Toorn writes extensively on the need for a change in the design practice. He claims that graphic design has reached a point that it no longer has room for “emancipatory engagement”. He explains the practice as “imprisoned in a fiction which does not respond to factual reality beyond the representation of the culture industry and its communicative monopoly” [1]. He asserts that designers must oppose this monopoly through critical practice. If designers were more involved in the initial planning of projects (upstream), rather than production (downstream), then there would be more opportunities to serve the greater good. Traditionally designers work somewhere in between marketing (upstream) and production (downstream) [2]. This essay summarizes a project carried out to extend the design process upstream and to work in a strategic and civically engaged manner. Tim Brown of the design firm IDEO, popularized the designeras-strategist concept with the term “Design Thinking”. He defines this as something unique a designer can offer at the planning stages because design is an activity that is “human-centered” and it “relies on our ability to be intuitive, to recognize patterns, to construct ideas that are emotionally meaningful as well as functional” [3]. Design education fosters empathy, analytical problem solving, and intuition. Introducing more strategy to visual education is a logical step to empower students to critically engage their world with their hands and minds. The project and the process The Providence Youth Arts Collaborative was an ideal community to explore designer as strategist for social change. Their offerings are one of many positive and negative choices that lure youth for their free time after school. The community also needs them: a rough statistic offered by PYAC was that there are twenty seven thousand Providence public school students and twenty-two K-12 Arts teachers [4]. The design process and resultant visual outputs were guided by the inquiry question: How can graphic design improve the credibility and visibility of the Providence Youth Arts Collaborative so that they can increase their offerings to youth and encourage youth to enroll in an after-school program? This inquiry-based approach is not common in design education, which typically models a client and a designer-in-service scenario. However, a civically engaged inquiry-based approach leaves room for questions and discovery as students search for support to reinforce their own ideas to deal with systemic problems that cannot often be premeditated. It lays a foundation for designer-initiated work. To fully understand design in its social context, I involved a range of viewpoints to give all stakeholders a voice in my process. The inquiry methods were interviewing, surveys, workshops, meetings, and work critiques. I interviewed students and the PYAC mentors to learn their thoughts on effective communication channels and a suitable design tone. I held workshops with a high school student at New Urban Arts (a PYAC member) and a former student from my university. I attended monthly PYAC meetings to listen and critique ideas. My design team (the two students) and I read case studies and theories concerning social change. These activities aided the design decisions by providing feedback, expectations of impact, and theoretical support. A useful model of social change was Diffusion of Innovations, which studies the process of how an innovation is “communicated through certain channels and adopted over time among members in a social system” [5]. Those who embrace the innovation are divided into groups according to the time they embrace it: innovators, early adopters, early majority, late majority, and laggards. According to this model opinion leaders and peer-to-peer networks are the most effective change agents. Utilizing this well-established model, we designed outputs that exert an influence over time and through the change agents. To integrate this model into our design process we defined the current PYAC students and mentors as the innovators and early adopters with peer-to-peer influence and as potential opinion leaders. Guidance counselors were also considered opinion leaders. In the workshops with my design team we created social system maps (education, peers, cultural, recreational), which helped to identify effective openings (see Fig. 1) within the systems where design outputs can assist change agents to attract youth to PYAC programs. Fig. 1, social system map, “openings” circled, agents and outputs on right" @default.
• W83666911 created "2016-06-24" @default.
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• W83666911 date "2013-01-01" @default.
• W83666911 modified "2023-09-26" @default.
• W83666911 title "Designing Social Change: Inquiry-Based Teaching in Graphic Design" @default.
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