Abstract

The experiential knowledge graphic arts and design education embrace are many and technologically complex, but it is timely to place a welcome emphasis on the entrepreneurial possibilities it stands to offer. One possibility is the graphic art technology which is often referred to as printing, publishing and packaging industry. A mounting pressure has emerged, according to Perry (2005) that is affecting the total package of education and the economic development of a nation. Acquisition of self-reliant skills and competencies should beget the eventual profile of any education goal. In the words of Akhuemonkhan (2005) and Oyetunji (2006) without vision a nation perishes. This presupposes that without entrepreneurship, economies perish. As successive governments in Nigeria are licensing private and public higher institutions for operations, the need for sustainable education continues to be of rapidly increasing economic and socio-economic worries. The specific objective of learning outcome should be such that school leavers in a given country are empowered to apply acquired skills and competences productively to fend for life expectancies always at leaving school. The concept of ‘sustainability’ of livelihood is an essential ballgame noted not only with rising concern but also as a matter of life and death. There is an urgent need to address some harsh realities in the planning, organization and administration of the Nigerian educational curriculum which hitherto has been indirectly responsible for the ailment of the national economy. This issue is global and more relevant to anyone involved in developing or delivering art and design curricular in schools (Hickman, 2005).

Highlights

  • The experiential knowledge graphic arts and design education embrace are many and technologically complex, but it is timely to place a welcome emphasis on the entrepreneurial possibilities it stands to offer

  • It becomes pertinent to refer to the visions in Olabode (2011), which envisage a practically coherent educational curriculum for Nigeria that will transmit more of practical knowledge and encourage business production methods right from school

  • The data collected from the survey were assembled, collated, analyzed, related and classified as appropriate in groups according to respondents’ answers as it relates to various objectives using frequency distribution, percentile and mean score

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Summary

Introduction

The experiential knowledge graphic arts and design education embrace are many and technologically complex, but it is timely to place a welcome emphasis on the entrepreneurial possibilities it stands to offer. There is an urgent need to address some harsh realities in the planning, organization and administration of the Nigerian educational curriculum which hitherto has been indirectly responsible for the ailment of the national economy This issue is global and more relevant to anyone involved in developing or delivering art and design curricular in schools (Hickman, 2005). The position of John Ruskin cited in Standfield (1976) in this regard is thrilling, he says “life without industry is guilt, industry without art is brutality, (pp[76]) For this reason, it becomes pertinent to refer to the visions in Olabode (2011), which envisage a practically coherent educational curriculum for Nigeria that will transmit more of practical knowledge and encourage business production methods right from school. Research questions In the course of the research, the following research questions become pertinent in guiding the work: 1. What are the demographic characteristics of the printers in Akure?

Are the printers professionally good to sustain the printing business?
Describe parameters and set up appropriate hypotheses
Every method of raising capital attracts high interests
11. Clients print jobs outside Akure because of poor finishing
Findings
Conclusion
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