Departmental Philosophy
Artist In Residence
Current Student Work



Investigate the importance of writing in critique, and within the discourse

The 2D department is based on an interpretive design methodology. Theory and criticism find their way into the departmental discourse primarily through writing, reading group and critique.

To gain a better understanding of how this works within the department take a look at this example (fig. 1) from our critique on Thursday October 18, 2012. First year graduate student Anton Jeludkov's work is posted along side first year student Amy Nicole Dosen's written critique. This is but one example - and one element - from our weekly writing and critique process.

Click on the image below to read the critique...


Blinded by Steel
Figure 1




Applicants to the 2D Department must adhere to specific portfolio requirements. Please click here for specific information.




Partial list of visiting designers

Audio Rom
Lewis Blackwell
Andrew Blauvelt
Max Brunsma
David Cabianca
Giorgio Camuffo
Barry Deck
Ron Decker
Modern Dog
William Drenttel
Gert Dumbar
Stephen Farrell
Joào Paulo Feliciano
April Greiman
Jessica Helfand
Don Koberg
Krisma TV
Harmen Liemberg
Ali Madad
Katherine McCoy
Michael McCoy
Richard Niessen
Matt Owens
Rick Poyner
Fiona Raby
Peter Rea
Stefan Sagmeister
Scott Santoro
Brian Schorn
Bruce Sterling
Joshua-Ray Stephens
Piotr Szyhalski
Mikon Van Gastal
Lorraine Wild
Michael Worthington
Rick Valicenti





Departmental Philosophy
2D Design (Graphic Design)

The 2D Department is the graduate graphic design department of Cranbrook Academy of Art. The department is actively pursuing work at the intersection of design and art. Traditional forms of design, activities where the designer acts as a conduit for the communication of a third-party message, and non-traditional forms of design, activities where the designer's agency is foregrounded, are explored in the program. In both of these approaches to design, the emphasis in the department is placed on the experimental. Work being produced in the department falls on a continuum from book, poster and letterform design, through installation, social practices and contemporary art. The results of these investigations often exist at the threshold between design and art. In our conception, the designer is a powerful cultural agent able to seamlessly engage in many forms of cultural production.


Departmental Philosophy Diagram 1


Issues systematically pursued in the department:

  1. Work situated at the intersection of design and art.
  2. An exploration of the relationship between writing, criticism and production.
  3. The process of critique as a generative tool.
  4. An interdisciplinary approach to design.
  5. Objects first: theory, language, and writing all in support of the object.


The Academic Focus of the Department
Nearly all departmental activities are designed to support the act of making. Whether it is in critique, reading group, critical studies or individual desk critiques, our departmental focus is on the notion that design is idea objectified and meaning embodied. Theory, writing and criticism all play critically important roles in the department; however, they are in place primarily to support the process of objectification and making. This focus is articulated in our weekly structure, where the lion's share of our time is dedicated to studio practice. Simply put, this means we make work (together), discuss this work and consider its cultural implications.

The Designer-In-Residence, His Work and Your Relationship to Both
Cranbrook Academy of Art as an institution is based on a model unique in American education. Each of the ten departments at the Academy is led by an Artist-in-Residence. The Artist-in-Residence is charged with mentoring each of the members in his or her studio. In the 2D department, Elliott Earls works intimately with each student to craft a course of study unique to the individual. In addition to the larger Cranbrook studio each student is deeply involved in Elliott's professional practice. An important and programmed part of the curriculum involves a sustained dialog between student and mentor concerning both parties' work. The mentoring process in the 2D department is developed further through biweekly mentoring dinners held at Elliott Earls's home.


Elliott Earls 2013 Artist-in-Residence Lecture from Cranbrook Academy of Art on Vimeo.

Our basic weekly schedule

  1. In Studio Work Time.
  2. GroupCritique.
  3. Departmental Reading Group.
  4. Desk Critique.
  5. Biweekly mentoring dinners at Elliott Earls's home.
  6. Lecture and meeting with visiting designers, critics or artist.
  7. Critical studies lectures and reading groups.


Weekly Schedule: Distribution of Time

2D Departmental Weekly Distribution of Time


Mapping the Cultural Terrain of the Department and its Work
As a graduate graphic design department there are certain fundamental issues that permeate our discourse – Efficacy of communication, typographic expression and the cultural role of the designer are chief among them. However the department is also acutely interested in an expanded and enlarged definition of the field. Effectively this means that issues germane to the other ten disciplines at Cranbrook are fair game in the department. Our departmental discourse owes more to El Lissitzky than Paul Rand. We are intellectually indebted to John Heartfield and Kurt Schwitters, Richard Prince and Ed Ruscha. We are as interested in Takeshi Murakami as we are Herb Lubalin.


2D Departmental Influences


Examples of Recent Student Work Illustrating the Points Discussed Above

Work submitted for Critique by Kevin Paolozzi I'm Fine With Government Regulated Execution
Kevin Paolozzi
Poster - Digital Offset, 26"x40"


Critique of Kevin Paolozzi written by Anton Jeludkov


Critique of poster above written by Anton Jeludkov (click to read full text)


"The question then becomes: would this be considered a political artwork? In Caoimhghin Croidheáin’s recent article for Global Research he classified political art in three categories: Portrayal, Promotion and Projection. “In the first category ‘Portrayal’ covers art that says ‘this is what happens if, is happening now or happened in the past’…In the second category of ‘Promotion’ ways and means towards the resolution of the problem are presented. That is, a particular aspect of an event is highlighted over other aspects…In the third and last category ‘Projection’ refers to art that takes disparate elements and then recombines them to form a new image.”4 By positioning political art in the framework of the aforementioned categories Kevin’s piece then fails to be defined as such, but rather stands to be described more accurately as a graphic design piece with political inclinations. I would not venture to call this piece purely political art, as it does not strive to make a difference in the currently dominant regime, but rather simply (almost indifferently) states one’s opinion in regard to a problematic subject. To push this further, one may see the work’s lethargic demeanor to be symbolic of the general indifference many feel towards political situation in their country, and with that, view the piece in a satirical light."


– Excerpt from Critique of Kevin Paolozzi written by Anton Jeludkov



Mytho Workshop from Cranbrook Academy of Art on Vimeo.



Images from the Critique of Julie Hoppner Balloon Wall #1
Julie Hoppner
28&"w x 41"h x 8"d
4,300 un-inflated rubber latex twist balloons and wood structure.