“We should note the force, effect, and the consequences of inventions, which are nowhere more conspicuous than those three unknown to the ancients: printing, gunpowder, and the compass. For these have changed the appearance, and the state of the whole world.”—Francis Bacon.

The far-reaching effects of design thinking explore the interconnectedness between moments of inspiration and the context in which it became possible. This interconnectedness will have the greatest impact on the student’s class experience. The German word—Zeitgeist—describes this reference of a design work to its particular cultural, technological, social, political and religious context. We will see how designers have manipulated the tools of art to influence and inform a specific audience within this contextual framework. The class will include lectures, and videos, assigned reading, writing, discussion and studio projects exploring a select survey of the diversity of design.

“Design is always changing. It continually transforms how we engage with each other and our world in new and exciting ways. New processes, strategies and technologies are invented. Historical precedents are reevaluated and critiqued. Innovative storytelling and narrative techniques are formed. Who are those driving this constant process of change? Designers, educators, curators, and authors are among those who are actively reshaping the creative process, directing currents in contemporary culture, and redefining the meaning of design.”—AIGA, Chicago

More specifically, Design Thinking is meant to provide an awareness of style, a close scrutiny of exemplary work, and an appreciation of the long tradition of visual communication. Students will gain a perspective on human development as represented by examples of visual communication presented within the wider contexts of changing technologies, expanding geographical regions, and cultural vernacular. All will develop an ability to critically analyze visual material and cultivate informed judgments about their meaning. A major theme which will direct the student’s study in the second half of the course will be to identify examples of major paradigm shifts in design thinking which, because of their importance had an impact on, or was a leader in, thinking in areas beyond the world of design. This is a challenging class, which requires thinking, reading, talking, research, design, work and fun—involvement—Design Thinking, please be prepared!

DESIGN THINKING is an online course where we meet together as a group twice a week to clarify directions, answer questions and gain individual feedback/critique. With than in mind, it is imperative that you are prepared for class each week with questions and to confirm your progress on assignments.

I will be using Zoom to present course material to you from the pacificgraphicdesign.wordpress.com website as well as the canvas course site. Join Zoom Meeting https://pacific.zoom.us/j/2381917234 for the weekly class meetings. Please take a look at these suggestions (found on the pacificgraphicdesign.wordpress.com visual resources page) and Pacific Technology to aid you in making your home online connections the best they can be.

All live class presentations and discussions during this course may be recorded. As a student in this class, please note that your participation in live class discussions may therefore also be recorded.  By participating in a live class discussion you are giving your consent to this recording.  Access to these recordings will be limited to faculty and students enrolled in the class, to assist those who cannot attend the live session, and also will be a resource for those who would like to review content that was presented.

COURSE OBJECTIVES/LEARNING OUTCOMES

Course Goals (Upon completion of this course the student should be able to):

• Students will develop their ability to make oral presentations.
• Students will demonstrate the ability to identify the development of specific design characteristics as they relate chronologically, thematically, culturally, and technologically.
• Students will demonstrate through individual and group presentations and written papers, the ability to make decisions based upon research and analysis of historical information.
• Students will have the opportunity to develop an historical understanding of various design processes and the specific history related to visual communication.
• Students will have the opportunity to develop a broad understanding of the effects of context—Zietgeist—on design innovation.
• Students will have the opportunity to develop an understanding of the relationship between visual communication and other areas of human development.
• Students will have the opportunity to develop critical thinking and the ability to analysis design.

The objectives will be achieved by:

• Assigned readings from required texts.
• Successful submission of two written comparative study papers.
• Presentation to the class select topics from chapter readings supported by supplemental research.
• Quizzes and final test/project.
• (Copies of student work may be retained to assess how the learning objectives of the course are being met.)