It’s that time of year when Adaptive Path wades through stacks of design school students’ resumes, looking for summer interns and potential hires. As I was doing this, a trend that that I had suspected became clear to me: quite a few design schools no longer teach design. Instead, they teach “design thinking” and expect that that will be enough. Frankly, it isn’t.
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I was that design has three components: thinking, making, and doing. (Doing is the synthesis, presentation, and evaluation of a design; the bridge between thinking and making.) If all design schools are teaching is the thinking, well, they are missing the other two thirds of the equation. They have abandoned craft for craze. Thinking without the making and doing is almost useless in the job market, unless you want to work at Accenture or some other big consulting firm. It probably won’t help you get a job as a designer in a studio environment. You’d be better off getting a degree in Humanities; at least you would be well-rounded.
D schools are doing a serious disservice to their students by only teaching them “design thinking” when a class in typography or mechanics or drawing might not only give them a valuable skill, but also teach them thinking and making and doing — all at the same time. For design to be truly useful as a profession and as a discipline, designers can’t just use “design thinking” to come up with strategies and concepts. Dare I suggest that those are much easier than building a product? Some notes on a whiteboard and a pretty concept movie or storyboard pales in comparison to the messy world of prototyping, development, and manufacturing.
It’s harder to execute an idea than to have one, genius being. What gets lost without the making is the detail work that makes us designers in the first place, the small parts where we earn our paychecks. Details are also where we earn the respect of the developers, businesspeople, and manufacturers who make what we prototype real(er).
Details often get overlooked in just “thinking” projects, as do constraints. Constraints are somehow less solid in the world of thought than they are in the world of making. What we’re going to end up with is a generation of “innovators” who are MBAs in MFAs’ clothing, who can neither create or run businesses like entrepreneurs can, nor design products and services like designers can. It’s the worst of both worlds. What we as employers are searching for are people who can do as well as think. This isn’t to say that we’re looking for glossy stylists either: we want designers who create thoughtful, meaningful designs: designs that pay attention to details, and have emotion and craft in them, as well as reason and cleverness. The world desperately needs those designers.
Start making them again.
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Elisha-Rio Apilado is a Chicago based graphic designer/illustrator and studio artist whose paintings and drawings have been featured in various exhibitions. Elisha studied studio art in Dallas, TX and moved back to Chicago where she obtained a B.F.A.
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In Visual Communications at the IL Institute of Art. She is currently diving into the career world of design while taking on freelance gigs and volunteer work.
Her portfolio and blog of random art findings can be found at. Join her or on twitter where her daily art adventures are posted.
Elisha-Rio Apilado Software The major software applications, such as the Adobe Creative Suite, are developed for both Mac OSX and PC Windows platform. Basically, there are no real differences between the on each platform. The only advantage of running the software on a Mac is the advantage of having more tools and applications included that are Mac-only. However, the PC has a much wider range of software available solely for their platform — especially if you are a designer working in the In this case, web designers find PCs a better tool since fonts are not a huge concern. Photographers and designers who do a lot of image rendering/editing also tend to be Mac consumers.
This is because Macs have a large amount of and tools that are free and Mac only, such as iPhoto. Other than the Adobe CS software, the other photo editing software compatible on Macs are Lightroom and Aperture. PC’s also have almost all the photo editing software available for Macs. User Friendly Many designers prefer Macs because of “shortcut” keys. These tricks help efficiency, as the time spent on a project can be drastically reduced. They also allow designers to multi-task and work between many projects.
Of course, PCs have shortcut keys too, although these keys differ between the platforms (i.e. PCs do not have the command key). Mac’s also offer the ability to easily maneuver projects with the Spaces function. This lets designers organize windows into groups to reduce desktop clutter and makes work easy to find.
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PC developers are continually in competition with Mac and as a result their designs are also easy to use, such as Windows XP and Windows Vista. They have developed their own work-flow style that may not be as minimal as the Mac, but is still friendly and usable.
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Ultimately, choosing between Mac and PC is a Usually, design schools have both PC and Macs available so students can learn how to design on both machines. Although, the majority of the big shot design companies work on Macs. But there are companies that also use PCs or offer the designer the option to choose. My advice is to be able to work on both Mac and PC, as well as know the pros and cons of each computer. The most important thing to remember, especially if you’re in a Mac and PC environment, is to make sure that you save files so they are compatible and can be read. Lastly, the type of computer you design on doesn’t determine the outcome or creativity of your work. Computers are just the vessel used to communicate your ideas.
In the end, it’s up to you and your skills to What do you think?