The article is basically a back and forth debate of how professional designers and amateur designers contributions throughout history. I think both types of designers have their benefits- amateurs are not under the pressure of "the marketplace" (310)and are able to freely create whatever satisfies them, whereas the professional designer is under the pressure to have a job in their field, but is also educated and equipped with the proper training to make efficient decisions.
In regards to Ellen Lutpon and Steven Heller's argument, I have trouble picking a side. If we're talking about someone using Lupton's book and getting a professional design job with no professional training, then I agree with Heller.I agree with Heller's claim that by simplifying design does "devalue" the profession that people study in-depth for years, indeed lessening their credibility and "elite status"(307). However, Lupton's point is that design should be of, "universal relevance to everyday life" rather than "elite status" (307) is something I agree with, and based on the previous readings on sustainability, I think more professional designers are trying to go Lupton's route.
Also, the mention of the dilettante's work and their Russian Miriskusniki group- molded from an "educated upper-class dilettantes" culture is essentially a amateur/professional in one.
- 'Professional' is to have received an education in a particular field/subject.
- Professionals define themselves and their work through scholarly periodicals, organizations and educational standards (Beegan & Atkinson 305).
- Until the Arts & Crafts movement, design was a professional's job. The Arts and Crafts movement encouraged amateur designing.
- The article states that because of shows, magazines and guide-books that urge/show people how to make and "do things" themselves the "amateur" is very present in today's society.
- 'Amateur' today is associated with, "leisure or hobbies, activities that are part-time, occasional and unpaid"(Beegan & Atkinson 310).
- The 'Amateur" is not restricted by corporations' demands.
- Ellen Lupton's 2006 D.I.Y Design it Yourself, a book that provides, "basic design principles" for non-professional designers.
- Lupton's book is important in regards to the professional vs. amateur because it gives non-professionals essential design tools that are, "at the core of established design education" (307).
- There is a rise in the design profession in the nineteenth century because of, "modernity, rationality and scientific progress" (307).
- Professional designer are important because they have been intellectually trained, with knowledge of the "theoretical" and can oversee complex problems and is able to direct others, such as, "the artisan, the builder, the sign maker, the potter, the printer, and compositor" because of his education in the field. (307-308).
- Vernacular Design: architecture, furniture, decorative art; Termed in the 19th century in regards to domestic buildings inspired by local resources and traditions that are pure and authentic, produced by amateurs, not professional architects.
- Vernacular designs are not associated with high culture.
- Dilettante design: design by people who "dabble in a range of activities without dedicating or committing themselves to any one field" (Dilettante) (309).
- Dilettantes were successful in their work because they were extremely knowledgeable in more than one skill,having the ability to, "dabble, combine and cross disciplines without attachment to an institution or professional viewpoint, encouraged hybridity" (309).
- Early graphic design was not developed by professionals, but rather anyone was savvy with computer programs, visual design skills and commercial web-design.
- Amateurs and professionals have both been the headliners in design at one point or another throughout history.
- The article notes that often the amateur is more connected with the result of their work because they are also the consumer.
WE'RE HERE TO BE BAD
"Unfortunately, schools teach students to design by limiting what the professionals do rather then developing their own approaches." I don't think this statement is true, or it's outdated. In my design classes we do some really strange projects that I couldn't have thought up. I think designers become limited when they get into the working world of design and have to comply with corporations and are then, "limited" to typical professional ideals. I did enjoy the recklessness the article gives, luring designers to be "bad" and abandon any professional means of design to become a, "missionary of art."
- Essentially, to be "bad" is to throw away any professional or formal means to design.
- "DESIGNERS NEED TO FUNCTION AS OUTSIDERS"
- Designers should not think like their clients to produce.
- Designers need to get in touch with "true vernacular" to make their work stand out.
- "Non-corporate, non-designed vernacular."
- Vernacular design is "clear and simple"
- Appropriate design- conforms to a mass population, normal, stays the same.
- Make design "dangerous and unpredictable."
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