Abstract
The early 1990's marked the beginning of the digital age when a transformation in graphic design technology and practice began to occur. For many graphic designers, the tactile approach to assembling a composition was abandoned as computer software advanced. While this shift in production technique saved time, it contributed (in many cases) to an unfortunate waning of interest in skill and craft. Perhaps as a reaction to this technologically- reliant era of design, many contemporary artists have returned to traditional processes (letterpress, etching, hand-rendered illustration, hand-written type) in order to reconnect with viewers and with their own work. This `Handmade' era of design of the past decade or so has endeavored to accomplish something that other movements have as well; that is, to use their design as a tool for good. This thesis has focused upon the notion--shared by the Arts and Crafts, Modernist, and Handmade movements-- that design can (and should) be used as a democratic tool for social, cultural, and environmental reform; and that designers can enact positive change in the lives of users by creating thoughtful, quality products.
Library of Congress Subject Headings
Design--Moral and ethical aspects; Design--Philosophy; Arts and crafts movement; Modernism (Aesthetics); Handicraft--21st century
Publication Date
5-1-2011
Document Type
Thesis
Department, Program, or Center
School of Design (CIAS)
Advisor
Meader, Bruce
Advisor/Committee Member
Byrne, Peter
Recommended Citation
Palermo, Kate, "Design for good: The Philosophical alignment of the arts and crafts, modernist, and handmade movements" (2011). Thesis. Rochester Institute of Technology. Accessed from
https://repository.rit.edu/theses/6222
Campus
RIT – Main Campus
Comments
Note: imported from RIT’s Digital Media Library running on DSpace to RIT Scholar Works. Physical copy available through RIT's The Wallace Library at: NK1505 .P35 2011