The Significance of Constructing the Social Model of Craft in Graphic Design History Narrative

Kim, Jung Hyun

doi:https://doi.org/10.18910/90901

The Significance of Constructing the Social Model of Craft in Graphic Design History Narrative

Kim, Jung Hyun

The Journal of the Asian Conference of Design History and Theory, 2017, 2, 97-106

アクセス数:62件（2025-03-14 17:37 集計）

固定URL: https://doi.org/10.18910/90901

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タイトル	The Significance of Constructing the Social Model of Craft in Graphic Design History Narrative
著者	著者名 Kim, Jung Hyun
キーワード等	Graphic design history narrative
	Graphic design history education
	The social aspects of craft
	William Morris
	The vernacular
	Meggs’s History of Graphic Design
内容	Theme I : Design Theories and Ideas in Europe
抄録	Graphic design history, a relatively new academic discipline, needs to reposition its current narrative, which emphasizes formal properties, as future graphic designers are required to understand complex social relations. A new approach blending the social aspects of craft into graphic design education will contribute to shaping the thinking of future design practitioners around a social need. Craft rooted in social interaction has positioned the philosophy of modern craft as a democratic and political activity. This includes William Morris’s ideas on social reform and his espousal of crafts as a response to the disorder of the Industrial Revolution. Also, the vernacular, one of the elements in the history of craft referred to by Paul GreenHalgh (1997), could provide another alternative narrative in graphic design history survey courses. Unfortunately, the tie between craft and design has nearly dissolved since design separated from craft in the later nineteenth century (Greenhalgh, 1997). Likewise, the content of survey courses, including Meggs’s History of Graphic Design, reflects how the concept of graphic design is more loosely tied to craft than it is to fine arts. But, the growing awareness of social design—which has the primary objective of design positively impacting society—implies a need for adding a new perspective to graphic design history survey courses that cultivate ideas about designers’social motivation in practice. In this respect, by adopting aspects of craft emphasizing social value, the narrative of graphic design history would provide design students with the opportunity to consider the influence of designed artifacts on the human condition and society.
出版者	Saitama University
収録物名	The Journal of the Asian Conference of Design History and Theory
巻(号)	2
ページ	97-106
刊行年月	2017-09
言語	英語
ハンドルURL	https://hdl.handle.net/11094/90901
DOI	https://doi.org/10.18910/90901
eISSN	21897166
アクセス権	open access
出版タイプ	Version of Record
カテゴリ	本学関連学会 Related Societies
カテゴリ	The Journal of the Asian Conference of Design History and Theory / No.2

資源タイプ	学術雑誌論文
ローカル資源タイプ	本学関連学会
DCMI資源タイプ	text
DCTERMS.bibliographicCitation	The Journal of the Asian Conference of Design History and Theory. 2017, 2, p. 97-106
DC.title	The Significance of Constructing the Social Model of Craft in Graphic Design History Narrative
DC.creator	Kim, Jung Hyun
DC.publisher	Saitama University
DC.language' scheme='DCTERMS.RFC1766	英語
DC.type' scheme='DCTERMS.DCMIType	text
DCTERMS.issued' scheme='DCTERMS.W3CDTF	2017-09
DC.subject	Graphic design history narrative
	Graphic design history education
	The social aspects of craft
	William Morris
	The vernacular
	Meggs’s History of Graphic Design
DC.description	Theme I : Design Theories and Ideas in Europe
DCTERMS.abstract	Graphic design history, a relatively new academic discipline, needs to reposition its current narrative, which emphasizes formal properties, as future graphic designers are required to understand complex social relations. A new approach blending the social aspects of craft into graphic design education will contribute to shaping the thinking of future design practitioners around a social need. Craft rooted in social interaction has positioned the philosophy of modern craft as a democratic and political activity. This includes William Morris’s ideas on social reform and his espousal of crafts as a response to the disorder of the Industrial Revolution. Also, the vernacular, one of the elements in the history of craft referred to by Paul GreenHalgh (1997), could provide another alternative narrative in graphic design history survey courses. Unfortunately, the tie between craft and design has nearly dissolved since design separated from craft in the later nineteenth century (Greenhalgh, 1997). Likewise, the content of survey courses, including Meggs’s History of Graphic Design, reflects how the concept of graphic design is more loosely tied to craft than it is to fine arts. But, the growing awareness of social design—which has the primary objective of design positively impacting society—implies a need for adding a new perspective to graphic design history survey courses that cultivate ideas about designers’social motivation in practice. In this respect, by adopting aspects of craft emphasizing social value, the narrative of graphic design history would provide design students with the opportunity to consider the influence of designed artifacts on the human condition and society.
DC.identifier	10.18910/90901
DC.format	90901
citation_title	The Significance of Constructing the Social Model of Craft in Graphic Design History Narrative
citation_author	Kim, Jung Hyun
citation_publisher	Saitama University
citation_language	英語
citation_date	2017-09
citation_journal_title	The Journal of the Asian Conference of Design History and Theory
citation_volume	2
citation_firstpage	97
citation_lastpage	106
citation_public_url	https://hdl.handle.net/11094/90901
citation_doi_detail	10.18910/90901
citation_doi	https://doi.org/10.18910/90901

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