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MITCH GOLDSTEIN

:// MFA.DESIGNCRIT.COM/

“My naMe is Mitch Goldstein. i haVe worked as a Visual desiGner

in one ForM or another For More than a decade. in 2006 i receiVed

My BFa in Graphic desiGn FroM rhode island school oF desiGn

(risd). currently, i aM a 2012 MFa candidate in Graphic desiGn

at VirGinia coMMonwealth uniVersity. you can View

My proFessional portFolio at hypothesis, ltd.”

03

SCHOOL KILLS CREATIVITYken roBinson

“O indivíduo que não exercita a criatividade acaba por ser uma pessoa incompleta, cujo pensamento não consegue defrontar os problemas que se lhe

apresentam. É que uma pessoa que não faça uso da sua criatividade terá sempre dificuldades”

Bruno Munari, 1981

O sistema formal de educação numa sociedade dá relevo à manutenção das normas de uma cultura. A fim de desenvolver uma sociedade, considera-se necessário fornecer novos conhecimentos e capacidades através do estudo. O Método de ensino é, a maior parte das vezes, seguidor de uma sociedade industrial onde impera o racional, o lógico, a eficiência e a velocidade do desempenho. O pensamento estimulado na escola é, sobretudo, convergente e linear, possuindo como tendência a valorização do conhecimento, da inteligência e da aptidão, desvalorizando o papel da criatividade como auxiliar ao desenvolvimento do indivíduo.

Só recentemente é que a Criatividade e o seu estudo se tornaram importantes devido aos rápidos desenvolvimentos da ciência e tecnologia. Tem-se agora consciência que para uma sociedade ser salva da estagnação e para o indivíduo atingir o seu pleno desenvolvimento, qualquer sistema de educação deve encorajar o desempenho criativo dos alunos. A este propósito, Tolliver (1985) refere que os educadores inibem os alunos criativos não apenas pela selecção de conteúdos, mas também pela comunicação de determinadas capacidades seleccionadas, pelas expectativas em relação a determinados papéis e pela expressão inconsciente de valores e premissas.Deste modo, e se o se o objectivo principal da educação é o de ajudar o estudante a tornar-se uma pessoa plenamente desenvolvida, tanto no domínio intelectual, como emocial e social; se a educação deve desenvolver as potencialidades

humanas, é justo que também estimule uma das aptidões mais características do Homem: a sua capacidade de criar e inovar a partir de situações comuns. Infelizmente, e como já foi referido o estudante criativo raramente tem oportunidade de expressar o seu potencial, até que opte por uma área de ensino superior dirigida ao nível das artes. Ou seja, o agente de ensino como educador deve orientar e criar as condições propícias ao desenvolvimento da criatividade dos alunos. E ao assumir esta atitude este está, a assumir-se como criativo; provavelmente “só professores criativos e que praticam a exercícios de criatividade podem liderar processos de desenvolvimento da mesma. Um indivíduo que desenvolveu deste modo a sua capacidade criativa, dá uso como mais facilidade aos processos, referências e consegue construir uma avaliação interna e externa dos conteúdos no seu dia a dia. Parte-

se, portanto, do princípio de que o objectivo geral da educação é o de encorajar o desenvolvimento daquilo que é individual em cada ser humano, harmonizo simultaneamente a individualidade assim induzida com a unidade orgânica do grupo social a que o indivíduo pertence. Como é obvio, não é qualquer área de ensino que está interessada em desenvolver os processos criativos dos seus alunos, mas sim e apenas a sua capacidade de raciocino e de resposta rápida aos enunciados. Tal não acontece no âmbito das artes e do design, pois estas valorização acima de tudo a capacidade individual de cada aluno, estimulando-o tanto critico como criativamente_

Acceptance of graphic design as a separate and distinct discipline—with

significantly different intentions, history, theory,

methods, and processes—has been quite slow.

Katherine McCoy.

05

A L W A Y S T A K E R I S K S .B E AGGRESSIVE.B R E A K T H E R U L E S .L O O K A T EVERYTHING. D I S M I S S N O T H I N G .B E O B S E S S I V E .B E U N C O M -F O R T A B L E .B E OPINIONATED.BE A C O P .

A DESIGN EDUCATION M A N I F E S T O

07

School iS hard. deSign School iS eSpecially hard becauSe So much of it exiStS within the abStract, the opinion. there are few, if any, abSoluteS aS you go through deSign School. much of deSign education iS about learning Some key techniqueS

and then trying to apply them to your work in intereSting wayS. the following are Some thoughtS i have about how to go through a deSign program and get the moSt out of the experience, and beyond aS a creative profeSSional. alwayS take

riSkS. it iS eaSy to learn and then repeat exactly what you have learned. however, you will not grow that way. i can See value in the regurgitation of knowledge if you are a lawyer, but i have a hard time with it aS a deSign Student or a creative

profeSSional. You should be pushing Yourself and You should be taking risks, eSpecially in School. big riSkS. trying what may not work. aSking queStionS that may not have anSwerS. Seeing if what you throw againSt the wall StickS. in my expe-

rience, taking risks in school has alwaYs paid off big time. be aggreSSive. there are many opportunitieS available while in deSign School. for example: collaborative projectS, extracurricular activitieS, and freelance work. theSe opportunitieS

will not alwayS come to you, you muSt go get them. every School haS a publicationS department that deSignS and produceS internal and external collateral. there iS no reaSon that you Should not be the perSon deSigning theSe projectS. make

contactS and aSk for work. if you are talented and a little lucky, you will get it.be aggressive in terms of Your academics as well. there are two kindS of deSign profeSSorS at School: puSherS and pullerS. Some profeSSorS will puSh their

knowledge on you. otherS will make you pull what you need from them. aSk queStionS of both. challenge their StatementS. aSk for precedentS. beyond the curriculum of the claSS, aSk your favorite faculty who they know that needS an intern

(becauSe they do know people, i aSSure you). aSk faculty if they need any aSSiStance with their own work. find out which exhibitS they enjoyed at local muSeumS. it iS very important that aS a deSign Student you do not Sit back and let thingS

happen to you. be aggreSSive and create your own luck and opportunitieS. break the ruleS. i lecture to my StudentS that they Should “fuck the rules” aS long aS they have a good reaSon. i have conSiStently found that the StudentS who are

conServative, Stay inSide the lineS and try to appeal to the teacher, are the StudentS who do the moSt predictable work. not bad work, juSt predictable. defYing the rules forces You to straY from the path of least resistance and ultimatelY

make work that is more interesting, more meaningful and more fun to create. but, that doeS not mean juSt be a contrarian for itS own Sake. it doeS not mean ignore any and all guidelineS. it meanS take the requirementS into conSideration

and break paSt them with good reaSonS and Solid ideaS. breaking the rules just to be different is foolish, breaking the rules because You have a much better idea is smart. look at everything. diSmiSS nothing. each deSigner iS born from

a unique experience. claSSmateS in the Same program will have different educationS depending on which teacherS they have, what field tripS they take, and what bookS they pick up. as a designer You need to alwaYs be looking at the world

around You. you need to See everything—the kind of detailed Seeing taught in freShman drawing claSSeS—not juSt looking, but really Seeing. You need to be an observer as well as a maker. You should rid Yourself of anY preconceptions

of what is and is not worthY of Your attention. everything haS potential to be intereSting and influential. not everything will be, but the more you See the better your chanceS are at Seeing Something that will be uSeful to you. be obSeSSive.

the Saying goeS that “neceSSity iS the mother of invention.” i concur, but i think for deSignerS the Saying Should be “obSeSSion iS the mother of invention.” obsession is what drives You to explore and find out as much as possible about some-

thing that interests You. i do not mean that being clinically obSeSSive/compulSive iS Something to aSpire to—i have been told that iS neither fun or intereSting—but i do mean you need to be intenSely immerSed and engaged in what you are doing.

thiS obsession can move you paSt underStanding and awareneSS into a tranSlative proceSS where you will Start to make thingS. we are uSually taught that obSeSSion iS unhealthy, and in Some caSeS that iS true. when it comeS to how a deSigner

lookS at the world, obSeSSion can provide an incredible exploSion of ideaS aS you become So engroSSed in Something you Start to reinvent it inSide your head. obsession can often help You to move through the threshold between thinking and

making. you Should never hold back your excitement about Something that intereStS you, and by the Same token, you Should not heSitate to be obSeSSive about many thingS Since you never know where your intereStS will lead. be uncomfortable.

comfort iS tremendouSly overrated, eSpecially aS a deSigner. you know you can Skew Some type, add Some color, toSS in an image and make a decent piece of deSign. maybe it’S not great, but it’S good enough. it iS eaSy to get into the habit of

making the kind of work you are comfortable making. truly great, intereSting, inSpiring deSign comeS not from comfort but from diScomfort. it comeS from the fear that what you are doing might really Suck, but it alSo might juSt be brilliant.

discomfort makes You reexamine what You think You know and how You think things should work. being uncomfortable helpS you make deciSionS from the gut, it makeS you puSh harder and take more riSkS. grabbing that fear, holding onto

that uncomfortable, Scary place letS you puSh paSt expectationS and into the unknown—into a proceSS of diScovery aS oppoSed to regurgitation. be opinionated. You should have opinions about design and the world around You. preferably,

you Should have Strong opinionS. ideallY, You should have strong and informed opinions. every great deSigner i have ever met haS an active Stance on deSign, they do not paSSively allow work to waSh over them. they have opinionS about what

they See. having opinionS meanS engaging in Some kind of internal analySiS of the work you See and formulating a reSponSe to it. aS an educator i do thiS conStantly in the claSSroom, and i try to do it conStantly in the profeSSional world aS

well. opinions about design force You to pick a side, and define what kind of designer You are. there are plenty of deSignerS out there who punch a clock in the morning, mindleSSly flow Some text into indeSign all day, and then leave at five

and don’t think about deSign until the next morning. there are deSignerS who caSually ignore art and deSign while they look for the next reality Show on tv. then there are the other deSignerS who make more deSign in their Spare time. their

idea of a good time iS to look at typography or experiment with painting or photography. theSe are deSignerS who are fully immerSed in working viSually, deSignerS who are actively engaged in becoming better at what they do every day. be a cop.

they Say that when you are a police officer you are on duty 24/7/365. copS alwayS look at their SurroundingS from a cop’S perSpective. theY notice things others do not. they act aS a cop would in an emergency Situation whether or not

they are in uniform. moSt copS i have met and read about alwayS carry their firearmS and badge, even while on vacation. it iS not Something they turn off at the end of their Shift. a designer needs to act like a cop. when you are a de-

Signer, you are a deSigner 24/7/365. alwaYs noticing, alwaYs observing, alwaYs designing, even if onlY in Your head. carrying a camera with you at all timeS iS a good habit—capture intereSting detailS you come acroSS, not juSt becauSe

you have an aSSignment due, but becauSe it iS in your nature aS a viSual artiSt to obServe and proceSS the world around you. inspiration comes from everYwhere and nowhere, all at the same time. one of the greateSt thingS about being a

deSigner iS that you do not finiSh your deSign education when you leave deSign School. You continue learning for the rest of You life, and You should carrY these ideas with You as You develop and mature into a creative professional.

BE AGGRESSIVE

BREAK THE RULES

RISKS.

DISMISS NOTHING

School iS hard. deSign School iS eSpecially hard becauSe So much of it exiStS within the abStract, the opinion. there are few, if any, abSoluteS aS you go through deSign School. much of deSign education iS about learning Some key techniqueS

and then trying to apply them to your work in intereSting wayS. the following are Some thoughtS i have about how to go through a deSign program and get the moSt out of the experience, and beyond aS a creative profeSSional. alwayS take

riSkS. it iS eaSy to learn and then repeat exactly what you have learned. however, you will not grow that way. i can See value in the regurgitation of knowledge if you are a lawyer, but i have a hard time with it aS a deSign Student or a creative

profeSSional. You should be pushing Yourself and You should be taking risks, eSpecially in School. big riSkS. trying what may not work. aSking queStionS that may not have anSwerS. Seeing if what you throw againSt the wall StickS. in my expe-

rience, taking risks in school has alwaYs paid off big time. be aggreSSive. there are many opportunitieS available while in deSign School. for example: collaborative projectS, extracurricular activitieS, and freelance work. theSe opportunitieS

will not alwayS come to you, you muSt go get them. every School haS a publicationS department that deSignS and produceS internal and external collateral. there iS no reaSon that you Should not be the perSon deSigning theSe projectS. make

contactS and aSk for work. if you are talented and a little lucky, you will get it.be aggressive in terms of Your academics as well. there are two kindS of deSign profeSSorS at School: puSherS and pullerS. Some profeSSorS will puSh their

knowledge on you. otherS will make you pull what you need from them. aSk queStionS of both. challenge their StatementS. aSk for precedentS. beyond the curriculum of the claSS, aSk your favorite faculty who they know that needS an intern

(becauSe they do know people, i aSSure you). aSk faculty if they need any aSSiStance with their own work. find out which exhibitS they enjoyed at local muSeumS. it iS very important that aS a deSign Student you do not Sit back and let thingS

happen to you. be aggreSSive and create your own luck and opportunitieS. break the ruleS. i lecture to my StudentS that they Should “fuck the rules” aS long aS they have a good reaSon. i have conSiStently found that the StudentS who are

conServative, Stay inSide the lineS and try to appeal to the teacher, are the StudentS who do the moSt predictable work. not bad work, juSt predictable. defYing the rules forces You to straY from the path of least resistance and ultimatelY

make work that is more interesting, more meaningful and more fun to create. but, that doeS not mean juSt be a contrarian for itS own Sake. it doeS not mean ignore any and all guidelineS. it meanS take the requirementS into conSideration

and break paSt them with good reaSonS and Solid ideaS. breaking the rules just to be different is foolish, breaking the rules because You have a much better idea is smart. look at everything. diSmiSS nothing. each deSigner iS born from

a unique experience. claSSmateS in the Same program will have different educationS depending on which teacherS they have, what field tripS they take, and what bookS they pick up. as a designer You need to alwaYs be looking at the world

around You. you need to See everything—the kind of detailed Seeing taught in freShman drawing claSSeS—not juSt looking, but really Seeing. You need to be an observer as well as a maker. You should rid Yourself of anY preconceptions

of what is and is not worthY of Your attention. everything haS potential to be intereSting and influential. not everything will be, but the more you See the better your chanceS are at Seeing Something that will be uSeful to you. be obSeSSive.

the Saying goeS that “neceSSity iS the mother of invention.” i concur, but i think for deSignerS the Saying Should be “obSeSSion iS the mother of invention.” obsession is what drives You to explore and find out as much as possible about some-

thing that interests You. i do not mean that being clinically obSeSSive/compulSive iS Something to aSpire to—i have been told that iS neither fun or intereSting—but i do mean you need to be intenSely immerSed and engaged in what you are doing.

thiS obsession can move you paSt underStanding and awareneSS into a tranSlative proceSS where you will Start to make thingS. we are uSually taught that obSeSSion iS unhealthy, and in Some caSeS that iS true. when it comeS to how a deSigner

lookS at the world, obSeSSion can provide an incredible exploSion of ideaS aS you become So engroSSed in Something you Start to reinvent it inSide your head. obsession can often help You to move through the threshold between thinking and

making. you Should never hold back your excitement about Something that intereStS you, and by the Same token, you Should not heSitate to be obSeSSive about many thingS Since you never know where your intereStS will lead. be uncomfortable.

comfort iS tremendouSly overrated, eSpecially aS a deSigner. you know you can Skew Some type, add Some color, toSS in an image and make a decent piece of deSign. maybe it’S not great, but it’S good enough. it iS eaSy to get into the habit of

making the kind of work you are comfortable making. truly great, intereSting, inSpiring deSign comeS not from comfort but from diScomfort. it comeS from the fear that what you are doing might really Suck, but it alSo might juSt be brilliant.

discomfort makes You reexamine what You think You know and how You think things should work. being uncomfortable helpS you make deciSionS from the gut, it makeS you puSh harder and take more riSkS. grabbing that fear, holding onto

that uncomfortable, Scary place letS you puSh paSt expectationS and into the unknown—into a proceSS of diScovery aS oppoSed to regurgitation. be opinionated. You should have opinions about design and the world around You. preferably,

you Should have Strong opinionS. ideallY, You should have strong and informed opinions. every great deSigner i have ever met haS an active Stance on deSign, they do not paSSively allow work to waSh over them. they have opinionS about what

they See. having opinionS meanS engaging in Some kind of internal analySiS of the work you See and formulating a reSponSe to it. aS an educator i do thiS conStantly in the claSSroom, and i try to do it conStantly in the profeSSional world aS

well. opinions about design force You to pick a side, and define what kind of designer You are. there are plenty of deSignerS out there who punch a clock in the morning, mindleSSly flow Some text into indeSign all day, and then leave at five

and don’t think about deSign until the next morning. there are deSignerS who caSually ignore art and deSign while they look for the next reality Show on tv. then there are the other deSignerS who make more deSign in their Spare time. their

idea of a good time iS to look at typography or experiment with painting or photography. theSe are deSignerS who are fully immerSed in working viSually, deSignerS who are actively engaged in becoming better at what they do every day. be a cop.

they Say that when you are a police officer you are on duty 24/7/365. copS alwayS look at their SurroundingS from a cop’S perSpective. theY notice things others do not. they act aS a cop would in an emergency Situation whether or not

they are in uniform. moSt copS i have met and read about alwayS carry their firearmS and badge, even while on vacation. it iS not Something they turn off at the end of their Shift. a designer needs to act like a cop. when you are a de-

Signer, you are a deSigner 24/7/365. alwaYs noticing, alwaYs observing, alwaYs designing, even if onlY in Your head. carrying a camera with you at all timeS iS a good habit—capture intereSting detailS you come acroSS, not juSt becauSe

you have an aSSignment due, but becauSe it iS in your nature aS a viSual artiSt to obServe and proceSS the world around you. inspiration comes from everYwhere and nowhere, all at the same time. one of the greateSt thingS about being a

deSigner iS that you do not finiSh your deSign education when you leave deSign School. You continue learning for the rest of You life, and You should carrY these ideas with You as You develop and mature into a creative professional.

ALWAYS TAKE

BREAK THE RULES

LOOK AT EVERYTHING

BE OBSESSIVE

BE UNCOMFORTABLE

BE OPINIONATED

BE A COP

09

A PRO-POS-ALCRITIC

STUDENT A: The first type of student wants to be an artist. Student A prefers full control over the creative development of his ideas because he feels he has knowledge to impart to the audience. He considers the process of empirical inquiry to be tedious. However, at times he finds audience input helpful to the development of his personal style of artistic expression—especially when it is in accordance with his own creative sensibilities. He tends to create cross-cultural communication graphics that visually dazzle some members of the audience but baffle others.STUDENT B:

The second type of student is the nondesign student who wants to be a technical writer. Student B has a strong foundation in theory, research, and writing. She sees the final object as a communication tool that needs to convey information clearly to its audience. Thus, she embraces the approach as a reliable way to design more culturally appropriate graphics for the audience. She acquires extensive feedback from the audience, and works closely with the audience on the development of the text and image-based graphics for her project. Student B tends to create effective.

os estudantes não devem ser considerados

todos iguais, possuem características

diferenciais e qualidade específicas. segundo

audreY bennett, existem três tipos de alunos:

STUDENT C : The third type of student wants to be a graphic design practitioner. Student C has a fine arts background but understands the communication requirements of a design object. He is at first dubious about empirical inquiry. Yet, he diligently records and carefully considers his audience’s feedback. He feels enlightened when the audience doesn’t concede to his creative choices. Seldom does he follow his own intuition. From his data he gains insight as to how he should visually translate information for his audience. Student C tends to create effective cross-cultural communication graphics that are usually visually enticing.

contudo, um bom aluno de design encontra-se sempre entre os desígnios do que audreY define como student b e studant c. pois este deve conseguir um

bom trabalho fundamentado na pesquisa, vendo o seu conteúdo teórico como um objecto de comunicação claro e conciso, como também, adequa-lo com uma

boa interpretação gráfica, de forma a que o objecto corresponda como um só.

11

Deve também procurar cultivar-se para que o seus projectos sejam fruto de um conhecimento sustentado, não ficando preso ao que é adquirido no ensino, pondo em equilíbrio a sua criatividade em paralelo ao seu conhecimento. Face a isto, A Design eDucAtion MAnifesto de Mitch Goldestein, dirigido na primeira pessoa aos estudantes de design, surge como uma crítica e incentivo, para que este possa ser sempre encarado como uma profissão a prosperar e em constante evolução. O lugar do Design, encontrar-se-à na “mão” da geração de estudantes de designers deste século. Por isso, é importante que estes sejam inquietos e criativos, que procurem novas formas de pensar e de projectar, para que não se limitem apenas

A PRO-POS-ALCRITIC

a responder a um enunciado, tornando-se cada vez mais auto-didactas e confiantes nas suas projecções. ARRISCAR, COMETER ERROS, QUESTIONAR sem respostas aparentes, é sem dúvida muito mais importante do que se limitar à concepção do objecto final, ou projectar à semelhança daquilo que outrora foi feito. O aluno deve desmistificar o erro como algo prejudicial na concretização dos projectos, acentuando o valor do acto Tentativa e Erro. Assumi-lo como um processo evolutivo e benéfico, pois o confronto com este e a percepção do que se pode extrair, fugindo do caminho mais fácil e previsível, leva o trabalho do designer a um nível muito mais interessante. Correr riscos, mesmo sabendo que à posteriori poderá não resultar, valorizando o processo como veio evolutivo e procurando novas soluções.Tal como o autor enuncia, quebrar as regras não significa ignorar o adquirido, mas sim aliá-lo a novas ideias, para que estas resultem de conceitos sólidos. Cada designer nasce com uma convicção e forma de observar o que o rodeia de modo único, por isso deve saber tirar partido daquilo que o torna diferente e conjugar com os outros factores que condicionam a sua formação. Por isso, um verdadeiro designer absorve tudo, estando numa constante projecção criativa mesmo que seja apenas na sua cmente.

“A INSPIRAÇÃO VEM DE TODO O LADO.” Este manifesto surge assim, com oito imperativos bastante importantes que abordam temáticas relevantes para que um estudante de design não se deixe cair no abismo da desmotivarão da sua formação académica e para que abordem o Design noutras perspectivas.

13

CRIATIVI-DADE

Durante as últimas décadas, os modelos da Educação principalmente artística, foram influênciados, directa ou indirectamente, pelas novas teorias provenientes da: Estética, História da Arte, Crítica de Arte, Filosofia de Arte ou Psicologia do Desenvolvimento Artístico.A delimitação do campo da criatividade é uma história feita de aproximações e afastamentos em relação à inteligência; envolveu conceitos muito distintos ao longo da História; várias definições e implicações na educação foram desenvolvidas por psicólogos e teóricos. “A inteligência é a capacidade de resolver problemas e de se adaptar a novas situações.”

De facto, educar segundo a criatividade, aponta para a motivação criativa do aluno bem como a do educador, que deve assumir também ele uma postura criativa. A importância do ambiente propício à criatividade é trata por Rogers (1985).Uma sala de aula em que o risco de se ter ideias é assumido, onde as ideias são tão válidas como boas respostas, e em que os erros são entendidos como mais uma oportunidade de aprendizagem.Contudo, os sistemas educativos são muitas vezes acusados de limitar o desenvolvimento pessoal, impondo para todos o mesmo modelo cultural e intelectual, sem ter em conta a diversidade dos talentos individuais. Tendem cada vez mais, por exemplo, a privilegiar o desenvolvimento do conhecimento abstracto, em detrimento doutras qualidade humanas como a imaginação e a criatividade.

“A CRIATIVIDADE É A CAPACIDADE DE REALIZAR UMA PRODUÇÃO QUE SEJA AO MESMO TEMPO

NOVA E ADAPTADA AO CONTEXTO ONDE SE MANIFESTA” (TODDLUBART, 2003).

ERRO

a problemática do erro tem

Sido tema central para muitoS

inveStigadoreS Sobretudo

para aqueleS que Se têm

intereSSado pela formatação

doS conhecimentoS e

pela Sua relação com oS

proceSSoS de aprendizagem.

o erro é conSiderado por

inveStigadoreS como piaget

(1973), inhelder, Sinclair

& bovet (1974), vergnaud

(1981), entre outroS,

como a manifeStação de um

deSequilibro cognitivo, maiS ou

menoS prolongado, durante o

deSenrolar de uma actividade

de reSolução de um problema.

contudo, no âmbito

principalmente do deSign o

erro não deve Ser encarado

como algo totalmente

prejudicial na concretização e

deSenvolvimento do projecto,

maS Sim como um doS meioS

de alcançar o reSultado final.

Segundo federigo enriqueS,

cada qual poSSui a Sua própria

criatividade e forma de

proceSSar e por conSeguinte,

não deve tolerar que lhe

Sufoquem ao tratamento como

delito paSSível de caStigo o

riSco de Se enganar. poiS

eSteS São etapaS naturaiS do

penSamento na procura de uma

verdade, poiS São experiênciaS

didácticaS que perSegue,

encorajando o aluno a

deScobrir por Si o que pretende

realmente e também a errar

para aprender a corrigir-Se.

o próprio proceSSo de

tentativa e erro, é porem

baStante educativo, poiS o

erro tal como já foi referido

anteriormente, não deve

Ser encarado como algo

totalmente prejudicial,

maS Sim um caminho para

encontrar novaS perSpectivaS

e aliado à criatividade, novoS

conceitoS. porém o SiStema

educativo implementado naS

eScolaS, não aceita deSte modo

tal proceSSo, o que por vezeS

leva o aluno a poSSuir medo

na concretização doS SeuS

proceSSoS e conSequentemente

ao bloqueio criativo.

15

a design education manifesto

bY mitch goldstein

from voice: aiga journal of design is an online publication for the discussion of design matters, featuring insightful interviews, engaging essaYs and thoughtful criticism.

+ what does it take to complete a design program and get the most out of the experience?

aiga artigos:.vision & voice: design education as agent for change chris chapin

. models of character, anthonY inciong

. familY values graphic design, nini j. paul

. the role of writing in a design curriculum, andrea marques

. thinking about design education, polite kerrY

. plain talk about learning and a life–in design, sharon helmer poggenpohl

design:(2007) looking closer 5: critical writings on graphic design, new York: allworthpress.(1998) heller, steven the education of a graphic designer, new York: allworth press.heller, steven, the education an e-designer, new York: allworth press

(1999) lupton, ellen, miller, j.abbott, new edition of “design writing research: essaYs on graphic design and tYpologY”, phaidon press ltd

(2003) heller, steven, teaching graphic design, allworth press,u.s.

educação:(2006) psicologia do desenvolvimento:temas de investiação, almedina, coimbra

(2007) read, herbert, educação pela arte, arte & comunicação, lisboa

dewwY, john, experience and education. new York: touchstone.

criatividade:(1986). alencar, eunice soriano de. psicologia da criatividade. posto alegre: artes médicas.(2008) morais, maria fátima, criatividade: conceito, necessidade e intervenção. braga

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