Hi I need a essay for my History of Graphic Design there are two prompt, I will let you choose which prompt easier for you
here is the directions
Prepare a response based on ONE of the prompts below. Your response should be 3-5 pages long, follow all of the conventions of good academic writing (e.g. Use of formal, third person prose; refer to authors/subjects by their last name [i.e. Kalman instead of Tibor]; have a clear claim/thesis; know when to use quotation marks vs. italics for titles, etc.), and use Chicago Style for all of your citation needs.
The essay you produce must also make use of Eskilson, as well as the essays in Armstrong and those on Blackboard. In addition to making reference to the textbook, you’ll need to cite at least two essays we worked with this term, in addition to any other research you decide to bring in. Once again, everything needs to be cited following the conventions of the Chicago Style.
Prompts
One
As is the case with journalism and marketing, professional designers have had to contend with the rise of a class of amateur practitioners who have challenged the way the profession defines the practice of design. For this exam essay, consider the relationship between the professional and the amateur, or more accurately the trained and the self-taught, as a key theme in the development of graphic design as a creative practice. In doing so think about the history of professionalization, the place of formal training in defining someone as a designer, and how such factors define the practice of design. In other words, consider if the rise of the so-call Citizen Designer is new and/or dangerous.
Two
The first “First Things First” manifesto and its 2000 update both call for a design practice that is meaningful. Going through the history of graphic design, consider how this idea of meaningfulness (in addition to concepts like committed, engaged, woke, etc.) has shaped not only the aesthetics of design, but its practice as well. Ultimately, what you’ll want to do is consider the idea of design as an activist practice—is this something that lies outside of the work designers do, or following Tibor Kalman, is it a vital element of one’s design practice?
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