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Graphic Designers today must operate independently of specific tools and media. Modes of production are democratized, and so it is in the ways we choose to operate within these modes that define the value of the field. Practice Makes Practice is a response to this condition, refocusing attention from the products of design as endpoints of process to visual evidence of persistent questioning by the designer. Through my work I question roles and media, enfolding audience, client, and collaborators into my process. My practice is improvisational, quick, and performative in its response to the specifics of site and circumstance. Through constructing temporary conditions for design, I reformat the everyday and produce in real-time. My thesis traces a trajectory of work demonstrating consistent methods over a wide range of academic and applied projects. I work intuitively to couple learning and making, and through continuous production enact a practice that persists at any scale.

A substantial body of literature centers on the concept of 'practice'. This article parses the practice turn in International Relations. It suggests that the meaning of 'practice' is a moving target. Sometimes it means process. Sometimes it refers to a particular type of knowledge and related action. And sometimes it is used as a quasi-synonym for institution. There are actually three concepts animating the practice turn: 'practice', 'practical knowledge', and 'practices'. These concepts hail from different intellectual pastures and lead to different ways of explaining and understanding international relations. The article introduces the three concepts, explains how each concept entails a particular interpretation of the nature and possibility of change, as well as affords a particular theory of peace(making).