DawgTalkers.net Forums DawgTalk Palus Politicus House to propose big higher education bill this week

https://www.axios.com/house-to-propose-big-higher-education-bill-this-week-2513512177.html

House members are set to put forward a higher-ed revamp this week, including instituting borrowing caps and eliminating some loan forgiveness programs in the $1.34 trillion federal student loan program, the Wall Street Journal reported.

Why it matters: Republicans wrote the bill without any Democratic input, according to Democratic congressional aides who said they have yet to even see the text of the bill. Based on what has been reported, aides told Axios Democrats on the committee will oppose what they see as a harmful bill, and they expect backlash from most of the higher education community except for-profit universities.
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Big picture: This would be the most significant overhaul of education policy in years, deregulating parts of the industry and adding incentives for universities to ensure students graduate with skills that will land them a job and promoting other educational paths besides traditional universities.

The bill would also:

Force schools to pay back federal loans that a student is not able to pay post-graduation.
Provide more funding to community colleges who partner with the private sector to create apprenticeships.
Eases up on for-profit colleges, allowing equal access to federal aid for profit and non profit schools and eliminating the gainful employment regulation on for-profits.
End loan-forgiveness programs for public-service employees.
End the program that sets monthly payments based on income for private-sector workers.
Simplify the FAFSA application process.

What's next: The Congressional Budget Office is expected to give the bill a score this week, according to WSJ. But the bill will probably take about a year to make its way through Congress, and will likely see major changes before making it into law.

This is gonna make our workers more productive how?

How dare they!

What do college loans and repayment have to do with productivity?

Nothing, IMO.

Which is the point. Why aren’t they proposing bills to actually help build talent in this country?

Individuals go into these high need fields due to the financial break. I know I can receive a bit of forgiveness after my fifth year of teaching, and that would be the end of this school year. Looks like this won't happen if the GOP gets their way. Typical luck for me, though.

Productivity increases when employee morale goes up, and morale would be higher if these forgiveness programs existed.

I know you'll listen to teachers, DC. I just hope others don't come at me with GOP talking points to tell me I'm wrong.

Thanks, GOP.

Just a side note here.

Colleges and universities are not the the education business for a large part. They ARE, however, in the business of attracting "customers" - students.

They offer degrees in anything and everything, for 1 reason: to attract a customer.

They build brand new fancy ass "dorms" for 1 reason: to attract customers.

They build dining facilities, rec facilities that are fantastic. Gorgeous. And expensive, for 1 reason: To attract customers.

They offer majors in just about anything you can think of, including one of my favorites: Intercollegiate Studies. What does that qualify you to do?

They offer majors in almost anything you can think of for 1 reason: To attract customers.

Customers are allowed to borrow boatloads of money to get many of these near useless degrees that won't benefit them much, if any, in the future.

And then, when they can't repay the loans, what?

Well, anymore they gripe about it, but forget they had a 4-5 year vacation on borrowed money.

Sciences, math, medical, engineering......etc, there are many majors that are great, don't get me wrong. And many jobs REQUIRE that degree.

But, what about a 4-5 year Bachelor's degree in "Dance", or "Outdoor Recreation", etc (and there's hundreds of other examples)

Bottom line, they don't help the students future. They help the college or universities present and future.

JMO.

Maybe I'm naive but that's really a consideration? "Well, I don't really know if I want to be a teacher or not but.... the government will forgive some/most/all of my debt, so I'm going to choose to do that for the next 40 years." Does that really happen?


Productivity increases the most when people love what they do. If people have low morale at work because they have college debt therefore their productivity suffers, then they are in the wrong profession for them.

Let me look at what the article says.. (understand, this is ALL I know about this potential legislation)


That's very vague.. can't really comment on that being good or bad.


This sounds reasonable to me.. limit the "art history majors". I'm not sure what these incentives are or if they go to the university or to the student, but couldn't this help fill those high need jobs? I mean if something is "high need" then doesn't it stand to reason people should actually be able to find jobs in those fields?


Sounds good. I hope they are talking about trade schools, apprenticeships, community colleges...


They do realize that the "school" isn't actually paying it back right? The state is paying it back. Kind of on the fence with this, it sounds like the inverse to the incentives for directing kids to majors where they can find a job. If you can find a decent job, you can pay back you loan.. if you can't, then you can't. Sounds to me like kids could abuse this, "Well, if I don't pay it back, they don't come after me, they go after the school".. I guess it comes down to how they determine if they are "not able to" or if they just "won't".


Great. We should have been doing this all along.


I'm not sure what they are saying so I won't comment on this.


What is considered a "public service employee"? Is this anybody that goes to work for the government at any level? If so, then how much forgiveness do they get now? I know they don't always pay well but there are a bunch of benefits to working for the government.. I would have to know how forgiveness they get.


Just based on this I would be opposed. If somebody is making a good faith effort to pay it back, just smaller amounts because they don't have the income yet, then I'm ok with that. Otherwise, they will be using their income to pay off student loans while accumulating other debt just to live.. it's not a good trade off.


At first blush, good. I'm all about simplifying things.

From what you've said, I'd say you are paid fairly well for the job you wanted to do, compared to "down here".

But, you might also get student loan forgiveness?

Universities need some reform; I agree many just try to suck money out of college kids who don't get educated on worthwhile degrees.

However, I disagree that all colleges don't help students.

The University of Toledo helped me find a wonderful career in Alaska in a phenomenal field.

I don't doubt that one bit. And I'm not saying all colleges/universities don't help students.

What I was trying to say is colleges/universities are needed, but they go way beyond need in majors.

Simply put, they try to attract customers by any means possible, even if that means offering degrees in "fields" that are down right stupid. They don't care - they get customers.

I remember my initial visit to UT, and one of the people was talking to all of us about how "we can get a degree in anything!". I rolled my eyes and thought "what poor soul is going to go for art history?"

art history has been a degree path for decades, maybe centuries.

Do you think this is good or bad? I think colleges should be competitive in attracting students to their school. Even in Europe, where universities are highly subsidized, they are very competitive in attracting students as well, because their funding comes in no small part due to their student body size. The same happens in the US, it's just a matter of who foots the majority of the bill.



Really? My sister got a degree in a rough field to get into, and it was far from a vacation. I went to college and went to one party in the two years I was there. I know there are frat houses and party animals on any college campus, but that's the exception, not the rule.



What a student does with their major after college is on them. If they abandon their chosen field or don't keep at it, it's not the universities fault.

I think all students should carefully examine the cost of their education against the return on that investment. I am glad that I did. I can also appreciate that it's a hard thing for an 18 year old to grasp. I consider myself more lucky than smart that I got a good deal on my college education.

While I may not want a career in dance, I can see career potential in it for the right person. Why do you consider it a frivolous major when there are dance halls, performing arts centers, and other choreographed works across the globe? I agree these fields aren't as high demand as some STEM fields, but that's not the sole reason for why we choose our careers. It would be the same for outdoor recreation. We have a large selection of national parks, and a need to understand our environment. I can even see outside career options such as working tourism for a local area.

A good friend of mine is an art major, and I said "oh no" when he picked that. But he is now VP of an advertising company near Coshocton OH. Another friend of mine is a fine arts major and has done well for himself. Not every story is a "good one" but not every story is "bad" either. I'm not sure why you're turning your nose at these majors, but I think you should reconsider useless majors.



I disagree. I think if a person is persistent, true to themselves, and applies themselves accordingly they can succeed in whatever field they happen to be in. I can't think of a single major where the students are designed to fail in life from it.

Where I think the universities greed has been shining in is that the government encourages universities to charge as much as they want for students. The BAPCPA of 2005 makes it nearly impossible to discharge student loan debt in bankruptcy, and "undue hardship" is incredibly hard to prove to a court. I'm not suggesting everyone default on their loans, but you and I both know that if a lender evaluated risk to a student like they did say, a house, they would not approve nearly as many loans as they do. But because they are almost impossible to send to collections, it changes the formula.

I know at least one person in my close circle that chose their current job because it was public sector, and the difference in pay from that, PLUS student loan forgiveness, came out quite a bit ahead of the private sector offers he had. So while this is one case, I do not doubt that many people ended up in the same boat.

But, a lot do. And that's my point: Colleges are in the business of attracting customers, not education. (and again, that's not a blanket statement).

I think you did some selective quoting of mine.

I don't disagree with everything you posted, though.

Colleges ARE in the business of getting customers, and they will offer stupid degrees in order to do so, and they will collect the student/customers money and then say "good luck" too often.

You gave, I think, 2 examples of people you know that got degrees in some field fairly unrelated to what they do now, but they are successful. That's great.


I do think my over riding point is valid though: Colleges are in the business of attracting customers AND giving them a belief in too many situations/majors that the customer will be benefited greatly. In reality, a lot of times, that's not the case.

JMO

I didn't intend to quote mine, just wanted to condense it a bit to avoid a wall of quote boxes. Sorry for that.

What stupid degrees are they offering ? I think this is somewhat snobbish. They might not be career choices YOU want but that doesn't make it stupid. I don't consider unskilled laborers workers stupid because they didn't get a degree. I don't think trade workers are stupid. Trade skills apply to everyday life better than me being a software developer...

As for actual evidence, the numbers show a degree is a better track to increase earnings than not, regardless of major:
https://www.bls.gov/opub/ted/2016/mobile...uarter-2016.htm

University admissions departments can act like salesman for sure (especially in for profit institutions). But they aren't inventing majors for no reason. If anything is oversold in American colleges it's sports, not academics. I'm also of the opinion that caveat emptor applies: the customer shouldn't trust everything the salesman says and do their due diligence. The salesman who sells an unsuspecting customer a car for high interest and 84 months is a swindler, but the customer bears responsibility too. Like a car, many students buy into the glamour and glitz of certain colleges. The truth is there's usually not much difference unless you're talking Harvard/MIT or similar.

On a general level, we need to encourage skill development, not harm it. The jobs of the future will need advanced skills more than ever, and we don't want to use H1B visas (well, most of us.)

No they aren't. They try to attract students. Just because someone is teaching in a field that you don't respect doesn't mean it's useless or they're doing it to attract a "customer".

Probably someone who wants to know how Frank Gehry and all this glass work got into such a gaudy hellenistic museum.

Oh dear Lord.

Sorry, it's not about it's not about me respecting or disrespecting a degree.

It's about "what can that degree do for me?"

And for many "degrees", the answer is: nothing.

So, you spent $30-$100 thousand on a degree in, in.......what? And you can't get a job in "collegiate studies, or art history, or how mankind relates to ancient european pluralism" etc?

Your second sentence is/was key to this: They try to attract students. Customers. It has nothing to do with my respect or disrespect of any chosen field.

It has everything to do with a college putting out there: "hey, we offer a degree in knitting. All you have to do is borrow a lot of money, and you'll get a degree."

And the student says "I signed. I owe, Get me that degree."

And they get the degree and then it's like "this isn't worth the paper it's printed on, and I owe 40-100 grand now."

Art History/BFA degrees are among the the higher post graduation salaries.

Great.

Tell me about Collegiate studies, or out door recreation degrees, or any of the tens to hundreds of degrees that mean absolutely nothing other that "I spent 4-5 years in college, and now have serious debt" degrees.

I'm interested in knowing what kind of jobs that Art History degrees are required for, and what their salaries are. And especially how many of these jobs exist.

Because I have doubts about that.

Business degrees don't mean anything. Neither do accounting degrees, or organic chemistry degrees. The only thing that matters is the quality of the job market and how possible upward mobility is.

I got a creative writing degree. So did my buddy, who's now a lawyer, because his first job after graduation was clerking for a law firm. Another creative writing graduate from my class fixes motorcycles. My first job out of college was building sets (I had no prior training in carpentry).

The point of a good, well-rounded liberal arts education is to get a good education. I know plenty of people who got these types of degrees you're insinuating are useless. Some found really great jobs, and some didn't. But it was the state of the job market, not the degree, that mattered.

There was an old article about this very subject, I'll try to find it - they even spoke about how art history was a lucrative field, and one being pushed in China, the thinking behind it being , with the rich getting richer and the poor getting poorer, go where there's money and try to carve out a living. And there's a ton of money in high art.

This post is so dumb and out of touch with reality. Quite frankly, it hurts to read and makes me hope you study up on colleges before your daughter becomes a Jr. If she already is, I hope she takes the college process into her own hands.

I don't know where to begin. Your business-oriented view of colleges, the thought that art departments are in the black or that someone spends money on a degree and boom there it is. Or that the job market, post graduation is that simple. Currently STEM graduates are having a hard time to find jobs because the market is saturated with STEM majors. Same with nursing. In fact, most of this saturation leads to more experienced workers, who are nearing retirement age, to end up being fired and replaced with cheaper labor. The idea that there is a plethora of degrees that offer employment out of the gate is hysterical in itself.

Also, could you find me a knitting degree? Do you mean a textile manufacturing degree?

Anyway, I'll stop now. It's too hard to type without laughing a bit.

Off the top of my head;
Marketing Graphics
Art Appraisal
Restoration Specialist
Museum Research
Archaeological Expert

I'm sure it applies elsewhere. Not everyone has to put on jeans and pick up a tool box or sit in a cubicle to be a productive member of society.

Some of those, ok, but marketing graphics needs someone with actual graphics design skill and art history is NOT that. Even if not doing technical work, knowing about types of arches in an old church really isn't going to help with marketing.

Not sure about the rest.

Having a degree in something does not mean that you didn't minor in something else...

A strong knowledge of historical marketing graphics would be a huge bonus in that field. 95% of marketing campaigns tweak and apply something that was successful before.

Here Eve

https://www.prospects.ac.uk/careers-advice/what-can-i-do-with-my-degree/history-of-art

Um no. Minoring in something is a different animal than simply getting a degree. And marketing and art history have nothing to do with each other.

As someone who runs very successful graphical marketing campaigns, I can tell you that art history has zero to do with that lmao

I can also tell you that I know many graphics art majors, people who have designed ads for major companies and art history has zero to do with it.

But thanks for playing.

I can see those things, and that is fine. However that is a really niche field. It's not like universities can churn out tons of those degrees and have an active market for it. It's not at all practical.

I beg to differ. I have a very strong marketing background and knowing the famous campaigns inside and out is part of it. But you've obviously got your blinders on tonight.

No blinders on. I just know what grabs people and basic marketing concepts. And ancient history about art from the effing 12th century isn't one of those things. So remotely not a factor in anything about marketing.

Keep trying though.

What do designers need to know?

Article by Juliette Cezzar October 05, 2017

Technology, social context, and ways of working with others will change. In order to become and remain relevant in their practice, designers need to continuously learn and develop formal concepts, methods, theory, and techniques. While designers often focus on a specific field at any given time, no one works in a vacuum. It’s important to know and understand the histories and theories of design and art, and how they intersect with the wider worlds of politics, economics, and technological advancements.

Many of the first programs in the “useful arts”—graphic design, fashion design, and interior design—began in urban areas in the early twentieth century to give workers in the new industrial economy the chance to rise beyond their specific tasks. Without education in the field, the worker had to fight to compete with others who could do that specific task faster or cheaper. The same situation exists today: designers who can learn to do one thing well and understand the big picture stand a better chance at a design career, as opposed to a one-off design job, especially because skills and job expectations are changing all the time and jobs are increasingly automated.

But what is the history of the field? For graphic and communication design, there is more than one history. For example, a web designer would contextualize her work in the origins of the internet and the different frameworks and ideas that have led to the way the web looks today. A digital product designer might find inspiration in the history and theory of industrial design. An editorial designer might look at printed communication over time, while a designer working in advertising would reference the history of advertising and marketing. What does apply to all types of design, however, is the history of how ideas manifest in form, something that can be understood through study of the history of art, architecture, or the design of objects.

Formal concepts
Those histories matter because the way something looks has always carried meaning. To fully understand that connection, designers first need to be able to look at the world and understand why things look the way they do at a given time, in the past and in the present. From there, they need to be able to put type, forms, and images together and be able to judge whether or not they convey an intended message to the target audience. Then they need to learn how to use these systems of relationships, sometimes articulated as rules or guidelines.

Knowing how to do that requires learning basic layout principles such as balance, rhythm, movement, and proportion, executed through scale, position, value, and color and using line, shape, texture, and space. This skill, also known as composition, is learned through practice, observation, and reflection. Composition can be learned through Gestalt principles like proximity, similarity, closure, simplicity, continuation, segregation, and emergence. Composition is also a foundational skill for illustrators, photographers, and fine artists.

From there, a designer needs to know the relationship between typographic form and meaning, as well as how the arrangement of type, also known as typography, conveys meaning. Like composition, these skills are learned through practice making and evaluating typographic forms and arrangements.

The relationship of typographic form to meaning is constantly changing. Audiences and their visual associations change. An advertisement sparely typeset in Helvetica meant something different in 1960 than it does today. In 1960 it would have signaled a move towards something new and different, whereas now it could even be read as retro, or nostalgic for mid-century modernist aesthetics and ideals. Just as colors are perceived differently in different contexts, forms are read differently depending on what’s around them, what they’re associated with, and how they’ve been used before. Images, too, change meaning depending on what they are viewed with and when they are viewed. A basic understanding of art and design history helps a designer understand and communicate, with shared references, the relationship of form, image, and structure to meaning.

Building these systems of relationships also requires a deep understanding of and control over hierarchy and contrast. Visual hierarchy gives the user or reader a clear understanding of what is most important and least important. Contrast allows that person to distinguish one thing from another. Designing an alphabet is the ultimate exercise in non-hierarchical systems: each letter must be distinguishable from the other, but no letter may be more different than the others, making them all similarly different. For example, in a font the “a” must look clearly different from the “e,” and you need to be able to tell an “i” from an “l.” But if the “w” or the “m” is heavier or bigger than all the other letters, because it calls attention to itself, it makes it harder to stay focused on reading all of the letters and words in the right order. In branding systems, wayfinding systems, advertising campaigns, and books, there are many situations where elements need to be visually the same and others where they need to be clearly different. Designers know how to read, create, and implement these systems, coding the hierarchy into the design.

Methods
A design method is a repeatable way of doing things that can be further broken down into processes. All design methods include some version of research, ideation, prototyping, iteration, and presentation but may approach each of these categories differently depending on the medium, the audience, and the purpose of the communication.

Research is often difficult to define, because it reaches into every phase of a project. In high school curricula, research is often narrowly defined as reading, quoting, and citing books. However, designers use dozens of research methods, up to and including making prototypes. Anything that involves learning and then communicating or sharing what has been learned is research, and in design, that learning can happen by reading, looking, talking, listening, or making. In short, research is learning made visible and tangible.

A commercial website project, for example, may start with a visual or written analysis of available technology and a survey of the people who will use the website, while a redesign of a brand identity may begin by collecting and sharing images and expressions of competing and associated brands. A book or a website will often start to become real through an analysis of content and the use of a grid, while a book cover or art-directed image may start with reading an excerpt of the writing and distilling it into keywords. All of these approaches are early research methods.

Another important part and purpose of the research phase is problem definition. Even if the designer is working for a client who believes he or she already understands the problem at hand, it’s important to first check the underlying assumptions and then map out an agreed definition of the problem before proceeding. Sometimes all or part of this phase will also be called discovery, which is a term borrowed from law to denote a period of review to unearth evidence for a case.

Ideation can also take many different forms, depending on the medium and social context of the work. A larger design team may use formal design thinking methods to come up with ideas, where designers and non-designers use collaborative tools and feedback forums to maximize participation and engagement in coming up with ideas, and then determining which ideas will be carried forward. An individual working with a larger group may sketch out ideas alone and bring back one or a handful to discuss with an individual or a group. In the context of design, an idea is any kind of mental construct that is not yet tangible. It’s something you wish to see but haven’t seen yet. Ideally, an idea or collection of ideas will form into a design concept, which is an articulation of how that idea or ideas will work over time and within a specific context. For an identity system, for example, an articulated design concept would set out the direction for projects within that identity system that do not yet exist.

A prototype is something you make to learn about or test the thing you ultimately want to make. A prototype can be a lower-resolution or smaller-scale version of that whole thing, or it can be a part of it. For exhibition signage, for example, a designer could build a scale model of the space and place scaled versions of the designs within it, or print out a single title and text panel at full scale and place it on the wall for which it is planned. Both of these are forms of prototyping that allow the designer to evaluate and discuss the design before final production. For a book cover, a designer may make several digital or hand sketches to communicate an idea.

A digital designer working on how someone will sign up for a mobile app may use commercially available prototyping software to show the flow, language, look, and sequence of that action, or build just that one part in HTML and CSS to demonstrate how it would look and work. If it is built in code, it could also be released to a portion of users or beta testers to get real-time feedback on the design and content.

Iteration is how a design is developed. Once research uncovers the key questions or problems to address, ideation maps and communicates possible solutions, and prototyping tests some of those ideas, then the task of the designer or design team is making, reflection, and making again until either further improvement is no longer possible or necessary or the time or money to further iterate have run out. Iteration can also be an important part of the ideation process, as making many versions of something without a specific visual goal in mind is the only way to come up with an idea that you did not previously imagine. In iteration, each version can be either an improvement on the last or a completely separate application of parameters. For example, if the design project is to place a retail logo on a shopping bag, a designer could try many different color and scale variations until arriving at one that best expresses the brand at that time.

Presentation is how a designer communicates the design. The most familiar form of presentation is a slide show, also called a deck, in front of a group of stakeholders who will approve or reject a project. Presentation, however, encompasses so much more than this: it includes having an initial conversation before a project begins, making an elevator pitch (an extremely short explanation of what your project or idea is and what it offers, often imagined as something you could complete during an elevator ride with an important person), sharing prototypes while the project is under way, rolling out a brand system to the public, and documenting a project in a portfolio. While you may hope that a project will speak for itself, it will not do so to every person who encounters it, at least not without help. Finding concise and clear ways to communicate the context of the project along with precisely tuned visual representations of the design is necessary if your clients, your users, and your future clients are to believe in the integrity of your design.

Designers use different presentation methods in different contexts, even for the same project. Sometimes the presentation is in real time and live, and sometimes it is static or archived. Sometimes the viewer has just a few seconds or minutes to understand it, and sometimes that viewer has an hour.

A designer learns all of these methods—research, ideation, prototyping, iteration, and presentation—through study and practice. There are also no set periods of time for each phase of a design project. One project may require a lengthy and formal research process while another may not; you may use one method for iteration when working alone and a different one when working with a team. Over time, designers develop a methodology, which is knowing how to select and sequence appropriate methods for specific design problems or situations.

Theory
Theory refers to any system of ideas that helps explain or speculate about why we do the things we do. Of course, designers regularly read and incorporate theory from other areas of study, such as art, architecture, economics, anthropology, sociology, technology, or science, but reading and writing design theory is how designers speak to each other about design to discover commonalities beyond day-to-day questions about business or technique. Theory also shifts and builds with culture and technology, as new relationships, tools, and modes of consumption create new questions.

Theory is often presented as the opposite of practice, but in reality it comes from practice, as designers encounter the same questions over and over again in seemingly unrelated situations. What’s the influence of technology or tools on aesthetics? Should designers regard themselves as authors? Do designers have ethical responsibilities? Are there universal truths in design, or is everything relative? What is the role of the designer if everyone can now create and distribute work?

Theory also overlaps with history in that changing economic and social conditions bring about new ways of thinking about the work. Reading or listening to theory from the past and thinking about those relationships enables designers to better see their own moment in the present and to ask good questions about how design should respond to what is happening now.

Each new era, however, brings its own questions about the past, the present, and the future. Some theory speculates about that future, because projecting into the future is one of the better ways to reflect on the decisions we make in the present. What new technologies, or what new commercialization of an existing technology, will change how we interact with information and each other in the future? How will changing demographics of audiences or of designers affect how we approach our work? Will a particular design pattern cause significant social or cultural shifts if it is widely adopted?

Speaking or writing about these scenarios is a way to prototype them before they happen. This kind of thinking also allows us to reflect on how what we design, and what we participate in as designers, is not just a result of social, historical, and cultural forces but can and will drive them as well.

Techniques
Technique is how to actually execute the design work. It’s the most recognizable yet most rapidly changing part of what designers know. At the time of this publication, a designer is often expected to know how to manipulate type, forms, and images for both print and digital media using contemporary software; how to put them in motion with or without audio; and how to make and modify templates and working prototypes for web and mobile (where the content itself may be continuously changing) through both prototyping tools and basic programming in HTML, CSS, and JavaScript.

Thirty years ago, making physical comps or mockups was a key skill; twenty years ago, most designers were using QuarkXPress and FreeHand; and ten years ago a designer could be reasonably expected to know how to create something in Flash. Even software programs that have survived for a decade or more have changed enough to require re-learning, and new design tools emerge each year to respond to new needs.

This doesn’t mean that learning a new tool is a waste of time if you’re not still using it ten years later. Each tool has a conceptual underpinning that you will understand if you learn to use it competently. For example, if you learn one kind of software that uses a timeline, you will understand the basic functions of another that uses a timeline. If you are competent in several applications or platforms, it will take you less time to learn a new one in the future.

Techniques aren’t limited to making physical or virtual things. It’s equally important to develop the skills necessary to communicate design ideas through writing and speaking. A successful designer has the ability to write clearly and precisely for a specific audience, discuss a concept one-on-one, and present a project to a larger group. Excellent listening and negotiating skills are necessary for working with non-designers, whether they’re clients, prospective audiences, or the people ultimately making the work.

Similar to design tools, designers and design teams adopt new communication and productivity software each year. Today, for example, a designer could be using Google Calendar to make appointments, Apple Mail to read and write email, Evernote to take notes, Google Docs and Sheets to collaborate on writing and spreadsheets, QuickBooks for invoicing, and Slack for team communication. The same designer could be using a completely different suite of tools ten years from now. Every one of these tools brings with it new protocols for communication to learn, and knowing how to use them productively can be as important as knowing design tools well. Finally, in addition to writing, speaking, and team communication, it’s also very helpful to learn core techniques early on for managing time and money.

Formal concepts, methods, theory, and techniques are not learned only once and then applied. Designers are learning all the time and are sharing their learning with each other through writing, talks, and classes. This shared learning is what makes up the discipline.

https://www.aiga.org/guide-designersneedknow

Thank you for playing.

One phrase in a sentence isn't gonna save you.

I have graphic designers on staff. I know out of work graphics designers. I know self employed graphics designers who do freelance.

I run a successful web business that relies heavily on marketing and ads. It drives basically everything.

I can tell you that all my practical experience and experience of the people I work with have nothing do with your one phrase in a whole article.

Nobody cares about your greek architecture.

Practical and theoretical are two different things.

If you want to get a job in graphic design then you should study that in college. Because an art history degree isn't gonna cut it when the job market is so cut throat.

But keep trying.

I'm aware of your business. You are also aware of what I do. We both work with design, marketing, and graphic ads. I just think the influence of history plays a heavier hand in this. But I will give you that it is probably not a primary position for that degree, however with design training as well it would very much apply.

Ok then. We can agree to disagree.

Because I can tell liberals the sky is blue, but yall gotta tell me well it's slightly orange at sunset.

Yes and most beds don't come with restraints...