Hey gang,
Here is a link to download the InDesign file I referenced in class.
http://www.yousendit.com/download/TEhWOGNYcVhPSHlFTmNUQw
This is where you can place all of your symbol concepts so we can easily look and understand them in class.
Please place each category on the same page. Their is 15 squares on each page...if you do more for a particular symbol just start a new page. Please also add your name and the type of icon that is being displayed to the bottom of each page (i.e.: painterly, copy machine, gestural).
Stoked to see everyones great work next week.
------------------------------------------------------------------------------------------------------------------------
*** If you are having a hard time getting the Indesign file to work you of course can recreate what I did. Just trying to make it easy on everyone. A few people emailed me and said they could not open the above file. Most likely it is because you have an older version of InDesign. So here is a version of the grid saved down for you:
http://www.yousendit.com/download/TEhWcHBOOW5LVldVbDhUQw
Saturday, August 25, 2012
Monday, August 20, 2012
Project One: REPRESENTING DATA: ICONS, INDEX, SYMBOL
THE SKINNY
You will explore different methods and strategies (both formal and conceptual) for “representing” a three dimensional object in two-dimensions.
You will do this by creating 16 different representations which identify the concept of an animal of your chossing.
You will then apply 1 mark to create a brand showing how this icon works in space.
INTRODUCTION
The designer combines visual materials-words, pictures and other representations into a specific visual-verbal gestalt that a specific audience can understand. The graphic designer is simultaneously message maker and form builder. This complex task involves the need to know HOW to form and intricate communications message while building a cohesive composition that gains order and clarity from the relationships between the elements (or parts).
The designer needs to infuse content with resonance to engage his/her audience.
Every representation—from a small period at the end of a sentence to a logo to the most complex color photograph-has a dual existence. It is an optical phenomenon with visual properties, and it is an communicative signal that functions with other signals to form a message.
This duality simply put means: every representation is denotative and
connotative.
Denotation: the direct meaning (literal)
Connotation: the in direct meaning (suggests)
Every representation is a sign or something that stands for something else and can be categorized as one or more of the following types.
Iconic: linked to their object through similarity
Indexical: linked to their object through physicality or causality
Symbolic: linked to their object arbitrarily (learned behavior)
PROJECT BRIEF
State general project information, goals and relevant background information for brand and site redesign. This paragraph should be a statement overview of project as a whole. Including your concept statement, research and brand evaluation. This will be turned in so should look professional.
CHALLENGE ONE PART 01
PARAMETERS
In this assignment you will explore different methods and strategies (both formal and conceptual) for “representing” a three dimensional object in two-dimensions.
You are asked to make 16 different representations which identify the concept of any animal of your choosing.
01 find or take a photo that best describes your animal
02 must be gestural
03 must be painterly - system of thick and thin strokes, calligraphic
04 must be graphical: use only right angles, straight lines and
(only two stroke widths)
05 must use only circles, triangles or squares
06 you must use the photocopier + cut/paste paper by hand
07 use alternate marking tool, nothing traditional
(no pencil/pen, brush, marker)
08 must convey a specific meaning (use only one line)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
09 must convey a specific meaning (a behavioral characteristic)
10 must express the texture of your thing
11 hybrid (two or more designs cut and pasted into a new form)
12 must explore making marks on “another surface”
13 icon of your animal (think stereotype and cultural references)
14 index of your animal (think of an insiring word: tall, long, wide)
15 radical an extreme abstraction of your animal
16 must be entirely typographic
(use a word that sums up your animal, real or made-up)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exploration : All forms of 2D and 3D media are encouraged.
PART 02
You will then create and apply one fo your representations to create a brand.
More info to follow.
You will be creating a complete stationary system and multiple applications.
PROCESS BOOK
Create a process book that shows your grid, type styles, headers, sub head, text, call outs, leading... make the pages dynamic while being consistent. This should be
designed to be printed out and presented in an interview or for a scholarship. This is different than your research and project brief which should be printed out. Your process book can include pieces and studies from Project brief research.
SCHEDULE (subject to change)
Tues. Aug 21st: First day of class. Introductions and Assignment 1 given.
Please choose your animal and collect as much research (info &
photos, images) as you can for next class. Be ready to tell us
why you chose what you did. Start sketching and bring in stuff
to work with in class for Thursday. Word list and Word Cluster excersises. (attached)
Thur. Aug 23rd: Introduction to class format. Share expected process. Work in class. Individual
meetings. 96 (1-8 @ 12 each) versions of first set (01-08). Post a comment or
question to your blog.
Tues. Aug 28th: Work in class. Group Crits.
96 (1-8 @ 12 each) versions of first set (01-08) Work large and small
on newsprint and/or drawing paper for next Thursdays lecture.
Thur. Aug 30th: Review of 96 sketches of first set.
Make refinements based on class discussion.
Assign & start next set (09-16)
Tues. Sept 4th: Work in class on set 09-16. Review refined 1st set (Group Crit)
96 versions of second set (09-16) Work large and small on news
print and/or drawing paper. Will present in refined form.
Thur. Sept 6th: Work in class. Individual meetings.
96 versions of second set (09-16) Work large and small on news
print and/or drawing paper. Will present in refined form.
Tues. Sept 11th: Review of 96 versions of second set (09-16)
Make refinements based on class discussion to both first and second sets. Post a
comment or question on your blog.
comment or question on your blog.
Thur. Sept 13th: Review of refinements of versions of first & second sets.
Talk Brands. Introduce Part 02 of project.
15 Logos based on Part 02 discussion. A List of applications.
Tues. Sept 18th No Class. Tad is out of town.
Thur. Sept 20th: Review 01-16 and New logos (Guest lecturer).
Refine final 16 and make poster, printout in b/w and tile so it is fullsize. 4x4: 6 in x 6
in squares. Think about process book. Refine 3 logos. Apply to two Identities. List of
applications.
in squares. Think about process book. Refine 3 logos. Apply to two Identities. List of
applications.
Tues. Sept 25th: Talk about what makes a good mark? Ten Principals of good design.
Review Identity, logos and Applications.
Refine final logo. Apply to two applications. 2 versions of each.
Thur. Sept 27th: Morning class only. Review final 16. Review brand.
Process book and project due soon.
Tues. Oct 2nd: Individual Meetings.
Thur. Oct 4th: Challenge one is DUE!!! (see final deliverables for specifics)
Introduce project 02
FINAL DELIVERABLES
You will be making the art in Photoshop and Illustrator and laying out the squares in InDesign. It will be good practice and it will keep everything in one document/poster.
16 6 x 6 inch squares flush to each other (makes 28 x 30 inch poster) leave 2 inch margins on top, left and right side...on the bottom leave four inches and type in the name of your animal followed by your name in 18 point akzidenz grotesk...center that type in what will be a placed at bottom right.
Applied Brand More info to come on this. All pieces will be mounted flush to briston board. One final logo on a 6x6 flush trimed piece of bristol board, and two addtional presentaiton boards with applied brand.
Process book (well designed). Including Research, Project Brief, word list, and all other research and process work. Presented as if showing client or interviewee.
Syllabus
PURPOSE OF THIS COURSE
In order to prepare you for the professional designer's need to create visual solutions that are meaningful, purposeful and appropriate to specific audiences and contexts, the purpose of this course is to teach you how to translate verbal concepts and design theory into visual images. This course focuses attention on the process of defining problems, gathering information, and formulating clear, powerful, and persuasive visual statements. Introduction to technological concerns of contemporary graphic design practice, methods of research, idea generation and professionalism will be an integral part of this course.
You will solve challenging visual communication problems:
• by formulating a meaningful process of ideation that is based on
research and understanding of content.
• by visualizing proposed solutions and creating prototypes for evaluation.
DESCRIPTION OF THIS COURSE
Visual Concepts, VISC 204, is a beginning level visual communication course intended to teach you alternative methods of generating both ideas and images. It is intended to provide an opportunity for you to demonstrate your specific ability and approach in solving conceptual and formal problems. During the semester you will be working on a series of projects which will require developing good researching skills, learning to think creatively and improving your problem solving capabilities, including formalization abilities.
Basic technology instruction is embedded in this course, you will develop a image-making/reading skills while developing basic skills to hardware and software relevant to the construction/manipulation of type and imagery for visual communication design.
COURSE METHODS
This course will provide opportunities for students to gain design knowledge and abilities through studio projects and critique presentations. Additionally, lectures, readings, demonstrations, slide presentations, class and group discussions, and personal student meetings will be used.
The projects assigned in this course are intended to teach you to think critically about the visual world around you while building on the visual vocabulary you developed in Design 1 & 2. Beginning exercises explore the characteristics of individual design elements and principles, and later exercises explore the communicative power of using these elements and principles in combination.
To get the most out of this class and grow as a young designer, you need to approach the class work with a serious attitude and a willingness to work beyond just doing what is asked. Push yourself. Visual Communication Design is a very competitive and challenging profession, but for those who find a way to engage with the work and enjoy being challenged, the demands are well worth meeting and the rewards are truly fulfilling. This course is taught with that philosophy as a backdrop. Students are expected to commit themselves and to work hard, every day, not just for better grades but for the enjoyment that the work brings and the growth that comes with it.
Expected Workload
Throughout the semester you are required to work a minimum of four and a half hours per week outside of classes on your projects. (Many of you will find that you will need to spend even more time per week.) Please be aware that not all project work can be done at home or at your convenience. Please also be aware that expecting yourself to continue to work a full-time or near full-time job (over 20 hrs. per week) will most likely have a negative impact on your grade. Studio course projects require a great deal of time in order to complete. It is very difficult to try and balance both a full-time job and a full load of studio classes.
Critiques
Visual Communication Design does not happen in a vacuum. Clear verbal skills are all important in communicating your ideas to clients and design team members. For all critiques, students are expected to come prepared to present their concepts, discuss how the form of their design supports their concept, and describe how they arrived at their ideas. Providing comment to your peers is a privilege. You will benefit from both giving and receiving feedback—you do not have to “like” another’s work, but you must provide insightful commentary in a courteous manner.
Process Books
The central factor in determining your design ability will your understanding of visual concepts as they apply to assignments. The process of designing and how you got there is as important as any final artifact you make.
Research and multiple ideations are required for every assignment. It is vital to a successful design solution, as well as your development as a design student. All work must be thoroughly documented.
Note: While the computer will usually be the ultimate tool for production, preliminary work will often be done on paper. Mock-ups, thumbnails and sketches are a way of exploring relationships quickly by thinking and making simultaneously. It allows you to see multiple ideas, compare, and arrive at a point in which to select the “best” example to develop further.
While in the course, you are to keep a blog and keep all process, you will turn in a process book or pdf: documenting your ideas, research, investigations, trials and errors, sketches, tear sheets, brainstorming, influences, etc.
Review
A review of all projects produced in Visual Concepts (VISC 204) will occur at the end of the 2012-13 academic year. Please keep all work.
Attendance
Attendance is mandatory. Work (even when unfinished) must be displayed during critiques in order to receive a grade. Late work will be lowered one full letter grade for every day that work is not turned in. A student will be given a project grade of “F” for any project that is never submitted.
Students are required to attend class. Please be in class on time and remain for the entire period. Please turn off your pagers and mobile phones. Attendance will be taken at the beginning of each class period. Three “late” marks will equal one absence. A total of 3 absences will be allowed for any reason. It is your sole responsibility to discover what happened during any class you missed. If it is necessary for you to be absent from class for more than 3 days for any reason including medical condition, you should withdraw from the class.
In the event of any absence, students are still responsible for obtaining all information & materials from the class period and completing all assignments on time. It is your sole responsibility to find out about any new work assigned during your absence. Any readings that are distributed during your absence will be left for you in an envelope attached to my door. Do not ask me for any handouts.
Academic Conduct
Please adhere to the rules as listed in the student disruptive conduct policy found at: http://www.studenthandbook.ku.edu/codes.shtml
Disabilities
Students needing special assistance or accommodation should contact the KU Academic Achievement & Access Center office at 864-4064. They are located in room 22 in Strong Hall.
Plagiarism
Is copying someone’s work or taking somebody’s idea and trying to pass it off as yours and will result in penalties as outlined in the KU student code of rights and responsibilities.
GRADING SCALE
Excellent (A+ 98–100%, A=94–97%, A– 90–93%)
Good (B+ 87–89%, B= 84–86%, B– 80–83%)
Average (C+ 77–79%, C= 74–76%, C– 70–73%)
Below Average (D+ 67–69%, D= 64–66%, D– 60–63%)
Failing (F 59% & below)
Completing the minimum requirements outlined on an assignment sheet qualify as “C” level (or average) work. The degree and quality of effort with which a student engages in the different criteria (above or below the minimum requirements) for each assignment determines how well they do.
Your overall performance in this class will be evaluated based on the following criteria:
EVALUATION CRITERIA
Design theories and practice-based knowledge
• introductory understanding of communication design theories that respond to the cognitive, social / cultural, technological and physical characteristics of audiences and contexts.
Process and Methodology
• understanding and applying formal design process to identify and solve communication problems, including the skills of research and information gathering, analysis, generation of alternative solutions, prototyping & testing and evaluation of outcomes.
• student demonstrated substantial engagement with the subject.
• developing an idea across time and sustaining work through progression and refinement.
Communication and Participation Skills
• student demonstrated professionalism by using class time effectively, managing time outside of class and preparing for each class period.
• professionalism in communicating effectively through oral and written presentations; communicating ideas clearly and concisely.
• student demonstrated professionalism by meeting deadlines (final and intermediate), demonstrating and communicating progress and preparing work for review.
• professionalism in discussions and critiques; providing feedback and responses to peers in a courteous manner and responding to relevant issues pro-actively.
Conceptual and Creativity Skills
• goodness of fit: the appropriateness of form to content (concept) and contexts (audience + cognitive, social, cultural, physical human factors).
• inventiveness: the originality/engagement of the designed object formally. aesthetics.
• visual organization/principles: the relationship between elements in the composition.
• image sensitivity: the control of variables specifically: cropping, connotation, denotation, juxtaposition and fusion in achieving legible and expressive visual meaning.
• typographic sensitivity: the control of variables specifically: typeface, weight, spacing, proportion and size in achieving legible and expressive verbal/visual meaning
• motion sensitivity: the control of kinetic variables specifically: path, area, direction, weight and speed in achieving legible and expressive visual meaning.
• time sensitivity: the control of temporal variables specifically: pacing, duration, sequence, montage, transition, arc and proximity in achieving legible and expressive visual meaning.
• audio sensitivity: the control of sound variables specifically: choreography, synchronization: parallel/counterpoint, contrast and dominance in achieving legible and expressive visual meaning.
Technology Skills
• hardware/software appropriateness: using the right tool for the job: completing the work with quality AND completing the work efficiently
In order to prepare you for the professional designer's need to create visual solutions that are meaningful, purposeful and appropriate to specific audiences and contexts, the purpose of this course is to teach you how to translate verbal concepts and design theory into visual images. This course focuses attention on the process of defining problems, gathering information, and formulating clear, powerful, and persuasive visual statements. Introduction to technological concerns of contemporary graphic design practice, methods of research, idea generation and professionalism will be an integral part of this course.
You will solve challenging visual communication problems:
• by formulating a meaningful process of ideation that is based on
research and understanding of content.
• by visualizing proposed solutions and creating prototypes for evaluation.
DESCRIPTION OF THIS COURSE
Visual Concepts, VISC 204, is a beginning level visual communication course intended to teach you alternative methods of generating both ideas and images. It is intended to provide an opportunity for you to demonstrate your specific ability and approach in solving conceptual and formal problems. During the semester you will be working on a series of projects which will require developing good researching skills, learning to think creatively and improving your problem solving capabilities, including formalization abilities.
Basic technology instruction is embedded in this course, you will develop a image-making/reading skills while developing basic skills to hardware and software relevant to the construction/manipulation of type and imagery for visual communication design.
COURSE METHODS
This course will provide opportunities for students to gain design knowledge and abilities through studio projects and critique presentations. Additionally, lectures, readings, demonstrations, slide presentations, class and group discussions, and personal student meetings will be used.
The projects assigned in this course are intended to teach you to think critically about the visual world around you while building on the visual vocabulary you developed in Design 1 & 2. Beginning exercises explore the characteristics of individual design elements and principles, and later exercises explore the communicative power of using these elements and principles in combination.
To get the most out of this class and grow as a young designer, you need to approach the class work with a serious attitude and a willingness to work beyond just doing what is asked. Push yourself. Visual Communication Design is a very competitive and challenging profession, but for those who find a way to engage with the work and enjoy being challenged, the demands are well worth meeting and the rewards are truly fulfilling. This course is taught with that philosophy as a backdrop. Students are expected to commit themselves and to work hard, every day, not just for better grades but for the enjoyment that the work brings and the growth that comes with it.
Expected Workload
Throughout the semester you are required to work a minimum of four and a half hours per week outside of classes on your projects. (Many of you will find that you will need to spend even more time per week.) Please be aware that not all project work can be done at home or at your convenience. Please also be aware that expecting yourself to continue to work a full-time or near full-time job (over 20 hrs. per week) will most likely have a negative impact on your grade. Studio course projects require a great deal of time in order to complete. It is very difficult to try and balance both a full-time job and a full load of studio classes.
Critiques
Visual Communication Design does not happen in a vacuum. Clear verbal skills are all important in communicating your ideas to clients and design team members. For all critiques, students are expected to come prepared to present their concepts, discuss how the form of their design supports their concept, and describe how they arrived at their ideas. Providing comment to your peers is a privilege. You will benefit from both giving and receiving feedback—you do not have to “like” another’s work, but you must provide insightful commentary in a courteous manner.
Process Books
The central factor in determining your design ability will your understanding of visual concepts as they apply to assignments. The process of designing and how you got there is as important as any final artifact you make.
Research and multiple ideations are required for every assignment. It is vital to a successful design solution, as well as your development as a design student. All work must be thoroughly documented.
Note: While the computer will usually be the ultimate tool for production, preliminary work will often be done on paper. Mock-ups, thumbnails and sketches are a way of exploring relationships quickly by thinking and making simultaneously. It allows you to see multiple ideas, compare, and arrive at a point in which to select the “best” example to develop further.
While in the course, you are to keep a blog and keep all process, you will turn in a process book or pdf: documenting your ideas, research, investigations, trials and errors, sketches, tear sheets, brainstorming, influences, etc.
Review
A review of all projects produced in Visual Concepts (VISC 204) will occur at the end of the 2012-13 academic year. Please keep all work.
Attendance
Attendance is mandatory. Work (even when unfinished) must be displayed during critiques in order to receive a grade. Late work will be lowered one full letter grade for every day that work is not turned in. A student will be given a project grade of “F” for any project that is never submitted.
Students are required to attend class. Please be in class on time and remain for the entire period. Please turn off your pagers and mobile phones. Attendance will be taken at the beginning of each class period. Three “late” marks will equal one absence. A total of 3 absences will be allowed for any reason. It is your sole responsibility to discover what happened during any class you missed. If it is necessary for you to be absent from class for more than 3 days for any reason including medical condition, you should withdraw from the class.
In the event of any absence, students are still responsible for obtaining all information & materials from the class period and completing all assignments on time. It is your sole responsibility to find out about any new work assigned during your absence. Any readings that are distributed during your absence will be left for you in an envelope attached to my door. Do not ask me for any handouts.
Academic Conduct
Please adhere to the rules as listed in the student disruptive conduct policy found at: http://www.studenthandbook.ku.edu/codes.shtml
Disabilities
Students needing special assistance or accommodation should contact the KU Academic Achievement & Access Center office at 864-4064. They are located in room 22 in Strong Hall.
Plagiarism
Is copying someone’s work or taking somebody’s idea and trying to pass it off as yours and will result in penalties as outlined in the KU student code of rights and responsibilities.
GRADING SCALE
Excellent (A+ 98–100%, A=94–97%, A– 90–93%)
Good (B+ 87–89%, B= 84–86%, B– 80–83%)
Average (C+ 77–79%, C= 74–76%, C– 70–73%)
Below Average (D+ 67–69%, D= 64–66%, D– 60–63%)
Failing (F 59% & below)
Completing the minimum requirements outlined on an assignment sheet qualify as “C” level (or average) work. The degree and quality of effort with which a student engages in the different criteria (above or below the minimum requirements) for each assignment determines how well they do.
Your overall performance in this class will be evaluated based on the following criteria:
EVALUATION CRITERIA
Design theories and practice-based knowledge
• introductory understanding of communication design theories that respond to the cognitive, social / cultural, technological and physical characteristics of audiences and contexts.
Process and Methodology
• understanding and applying formal design process to identify and solve communication problems, including the skills of research and information gathering, analysis, generation of alternative solutions, prototyping & testing and evaluation of outcomes.
• student demonstrated substantial engagement with the subject.
• developing an idea across time and sustaining work through progression and refinement.
Communication and Participation Skills
• student demonstrated professionalism by using class time effectively, managing time outside of class and preparing for each class period.
• professionalism in communicating effectively through oral and written presentations; communicating ideas clearly and concisely.
• student demonstrated professionalism by meeting deadlines (final and intermediate), demonstrating and communicating progress and preparing work for review.
• professionalism in discussions and critiques; providing feedback and responses to peers in a courteous manner and responding to relevant issues pro-actively.
Conceptual and Creativity Skills
• goodness of fit: the appropriateness of form to content (concept) and contexts (audience + cognitive, social, cultural, physical human factors).
• inventiveness: the originality/engagement of the designed object formally. aesthetics.
• visual organization/principles: the relationship between elements in the composition.
• image sensitivity: the control of variables specifically: cropping, connotation, denotation, juxtaposition and fusion in achieving legible and expressive visual meaning.
• typographic sensitivity: the control of variables specifically: typeface, weight, spacing, proportion and size in achieving legible and expressive verbal/visual meaning
• motion sensitivity: the control of kinetic variables specifically: path, area, direction, weight and speed in achieving legible and expressive visual meaning.
• time sensitivity: the control of temporal variables specifically: pacing, duration, sequence, montage, transition, arc and proximity in achieving legible and expressive visual meaning.
• audio sensitivity: the control of sound variables specifically: choreography, synchronization: parallel/counterpoint, contrast and dominance in achieving legible and expressive visual meaning.
Technology Skills
• hardware/software appropriateness: using the right tool for the job: completing the work with quality AND completing the work efficiently
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