There are several challenges inherent in teaching visual communication. One is the balance of skills training and visual literacy that is a necessary part of creating articulate, visual products. Another challenge is balancing a focus on the form or product of communication with the process of developing content. In many cases, concern for the form overwhelms the process of design and content development while placing the focus on the final product: the newsletter, magazine, newspaper design. For example, in the classroom an approach that focuses on the product might offer students a variety of templates that represent good layout. The student is allowed to work within these templates. Often the results are adequate, but familiar. On the other hand, if the focus is placed on the process of design, the student may be frustrated by the myriad of choices and the awkward exploration that is a necessary part of developing both skill and aesthetic sense. The beginning student may not have an ability to organize the process in a coherent way nor to evaluate the effectiveness of the results. For example, when designing corporate identity (logos) I often require that students develop at least 50 idea sketches before attempting to narrow their selection to a final version. The reaction is always painful. First of all, students seldom believe that have 50 ideas available to them. Secondly, students seldom have any experience narrowing their visual choices if succeed in developing 50 ideas. In reality, both product and process are important components of visual communication design education. In the classroom, basic skills must be revealed through projects that build a foundation of technical understanding (print production processes and digital delivery systems), production skills (software basics and design tools), and presentation methods. Students must also develop an approach to problem-solving that is self-directed and strategic. Further, the process of visual communication is by its nature a creative one. In fact, we've just described a tall order for the student: to develop the product of visual communication while involved in a process that is creative, strategic, content-driven, and that will result in effective communication using visual media. Nonetheless, it is possible to interject strategy without compromising exploration. One such approach is to develop a process for the critique of visual work that allows for creative exploration while also offering a strategic, purposeful underpinning to guide student discussion of the results. Students can be empowered to examine their work in a self-directed way through a three-step process of description, interpretation, and evaluation. This paper will describe each of these steps and will offer a framework for directing the discussion of student work through directed questioning. Critique dynamics The process of critique in a visual communication classroom is one that is often characterized by students claiming that they like an object because it is awesome while other students nod in agreement. The discussion or critique is often filled with opinions that lead to conclusions and the result is more confusing than constructive. If the process of critique is undirected, the discussion generally results in identifying visual products that are packaged well or presented professionally. There may be little concern for the effectiveness of the message and there may be no clear recognition of how or why the work is successful. The critique, in this case, is focused on the product rather than the process. The process of critique is not an intuitive one; most of us can benefit from an approach that offers a framework for effective analysis, particularly when the object is the critique of student visual communication efforts. The critique becomes a process of knowledge building rather than ego gratification. All knowledge exists through critical thought and all disciplines are modes of thought. …
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Jan 1, 2000
Josef Schneider 
