Early education curriculums in the graphic design communities have been characterized similarly to those in the general educational field where they are fashioned for able-bodied students. Art and design have from the past been thought to be courses that required a lot of body movement and function, this limiting the number of scholars with various disabilities. However, with increased interest in the field where all individuals despite their differences are considered equal have brought about changes in such early philosophies. Chapin (2006) through his article provides suggestions and insight on how educationalists can go about to help students in developing their own voices. His assertions are based on the premise that in the field of fine arts, the most important idea and voice is that of the individual artist. However, this becomes complicated when the artist does not understand the tools of communication to pass an artistic idea to the public. He advises that when teaching a technical or a design conceptual course, educationalists have the opportunity to challenge students to recognize social change and if courses that teach design and process were divided and recognized as different curriculums, the country would have classes for critical thinking and conceptualization, and other classes for aesthetics and technique.
As earlier mentioned, art schools were initially placed to serve a certain portion of students with special needs however, at that particular time the term disability was not well understood. The definition of ‘disability’ is broad, and includes physical, social, mental, and behavioral wants. Additionally, work by Cobb and Sharkey (2007) provides a particular emphasis on disabilities among individuals. ...Show more