History Poster

History Poster
Professor Groat | Art 125
Your assignment is to design a poster that serves as a tool for teaching something about a particular segment of history. The history of Rockn’ Roll, snowboarding, hairstyles, and clocks are just a few examples. You decide! The design must be visually engaging, legible and make use of the principles: emphasis, alignment, contrast, balance, flow and repetition. You must design the poster to conform to one of the seven design sensibilities listed below.

Design Styles:
Art Nouveau (Late 19th Century to Early 20th Century)
Bauhaus (1920’s)
Constructivism (1913-1920's )
Art Deco (1920-1930)
International Typographic Style
(Swiss School of Design) 1950-1970
Modernism / Modern Movement/New York School
Post-Modern Design

Learning Outcomes:
Ø Create a unified and balanced design involving both typography and images.

Ø Articulate the main design attributes connected with Art Nouveau, Bauhaus, Constructivism, Art Deco, Swiss Movement, Modernism, and Post Modern Design.

Ø Articulate verbally and in writing how the design principles: emphasis, alignment, contrast, balance, flow and repetition have been used to create a unified and balanced design that visually and verbally communicates.
Size:
17-x11” | Media: digital | Full Color

What’s Due:
11/11 1 example of each design style posted on blog, along with a bulleted list of characteristic design attributes.
11/11 10 Thumbnails – FIRST ROUND
11/16 10 Thumbnails – SECOND ROUND
11/23 Half - Size rough – 8.5x5.5” (hand drawn with black sharpie)
12/3 (Critique Day) Full Size comprehensive Posted on Blog
11/9 Final Revised comprehensive Posted on Blog

What’s Required:

Ø Headline Text
Ø Body Text – Must explain what, where, when and how.
Ø Graphic Illustrations or Digital Images
Ø Full Color
Ø Thumbnails, Rough and Comprehensive presented on blog!

Graded On:
How well you address the needs of the assignment,
craftsmanship, creativity, postings on blog, essay and meeting due dates.

Essay Outline:
The project essay must outline the following:
1. How does your design teach something about a particular segment of history and engage the audience?
2. How does your design conform to the "rule of thirds"?
3. How have the principles: emphasis, alignment, contrast, balance, flow and repetition
been implemented within your design?
4. What role does color serve within your design?

Design Styles

Art Nouveau - Late 19th Century to Early 20th Century
· Art Nouveau (French, = new art) as a style is marked by
· Intense ornamentation a delight in the curves of stylized plants and draperies, and hand lettered typography.

Art Nouveau (French, = new art) as a style is marked by intense ornamentation, a delight in the curves of stylized plants and draperies, and hand lettered typography.

Bauhaus - 1920’s
· "Form follows function": the aesthetic of the Modern Era
· The three principles of Bauhaus design were:
· Form follows function
· Economy of form
· Truth to materials

The Bauhaus adopted a revolutionary teaching approach built on practical work, where students and teachers worked together on studio projects and thus unified practice and theory. ... the Bauhaus seeks - by the means of systematic theoretical and practical research into the formal, technical and economic fields - to derive the form of an object from its natural functions and limitations. (...) Research into the nature of objects leads one to conclude that forms emerge from a resolute consideration of all the modern methods of production and construction and of modern materials. (Walter Gropius, 1926, quoted in Michl 1995). Founded in Weimar (Germany) in 1919 by architect Walter Gropius, the Bauhaus was the most influential design school of the twentieth century. It drew inspiration both from Russian Constructivism (to the East) and De Stijl (to the West).



Constructivism - 1913-1920's
Stylistically, Constructivism is marked by:
· Organization of abstract, geometrical elements to make dynamic or visually stable forms
combinations of different sans serif typefaces for their visual and formal properties as well as their literal meanings
· Simple, flat, symbolic colors
· Extensive white space as part of the design
· Photography (rather than drawn illustrations) and photomontage
Constructivism emerged from the Russian revolution (1917) and the need for quickly designed and produced posters to promote the slogans and campaigns of the reforming government. It was associated with industrialization, a rejection of art as a bourgeois luxury, and adoption of the new avant-garde art as a mass medium.

Art Deco 1920-1930
· Straight Lines
· Flat, geometric, constructed shapes
· Chevrons >>>>, zigzags, lightning bolts
In the typically modernist tradition, Art Deco style rejects romantic decoration and ornament. It delights in straight lines, flat, geometric, constructed shapes, chevrons (>>>), zigzags, lightning bolts and all forms influenced by machine aesthetics. But here these forms are used with a softer touch, frequently ironic, humorous and sophisticated, consciously self-referential. Art Deco evolved into an aesthetic of beauty, which is seen as quintessentially French and stereotypically elegant. After World War I, through the 1920's and 30's, French business and industry embraced the avant-garde ideas of modern art and applied them to advertising and publicity. Posters, packaging and the catalogues of the great fashion stores sold not only goods but a new taste in art and design. Art became transformed into elegance!

International Typographic Style - 1950-1970
(Swiss School of Design)
· Clarity of design objective
· Grid Format
· Visual Unity of design through asymmetrical organization through a mathematically organized grid
· Predominant Use of Sans-Serif expresses spirit of progressive age
During the 1950s a design movement emerged from Switzerland and Germany that has been called Swiss design or, more appropriately, the International Typographic Style. The objective clarity of this design movement won converts throughout the world. It remained a major force for over two decades, and its influence continues into the 1990s. Detractors of the International Typographic Style complain that it is based on formula and results in a sameness of solution; advocates argue that the style's purity of means and legibility of communication enable the designer to achieve a timeless perfection of form, and they point to the inventive range of solutions by leading practitioners as evidence that neither formula nor sameness is intrinsic to the approach, except in the hands of lesser talents.
The visual characteristics of this international style include a visual unity of design achieved by asymmetrical organization of the design elements on a mathematically constructed grid; objective photography and copy that present visual and verbal information in a clear and factual manner, free from the exaggerated claims of much propaganda and commercial advertising; and the use of sans-serif typography expresses the spirit of a progressive age and that mathematical grids are the most legible and harmonious means for structuring information. More important than the visual appearance of this work is the attitude developed by its early pioneers about their profession. These trailblazers defined design as a socially useful and important activity. Personal expression and eccentric solutions were rejected, while a more universal and scientific approach to design problem solving was embraced. In this paradigm, the designer defines his or her role not as an artist but as an objective conduit for spreading important information between components of society. Achieving clarity and order is the ideal .More than any other individual, the quality of discipline found in the Swiss design movement can be traced to Ernst Keller (1891-1968). In 1918 Keller joined the Zürich Kunstgewerbeschule (School of Applied Art) to teach the advertising layout course and develop a professional course in design and typography. In teaching and in his own lettering, trademark, and poster design projects, Keller established a standard of excellence over the course of four decades. Rather than espousing a specific style, Keller believed the solution to the design problem should emerge from its content. Fittingly, the range of his work encompassed diverse solutions. The roots of the International Typographic Style grew from de Stijl, the Bauhaus, and the new typography of the 1920s and 1930s.

Two Swiss designers who studied at the Bauhaus, Théo Ballmer (1902-65) and Max Bill (1908-94), are principal links between the earlier constructivist graphic design and the new movement that formed after World War II. Ballmer, who studied briefly at the Dessau Bauhaus under Klee, Gropius, and Meyer in the late 1920s, made an original application of de Stijl principles to graphic design, using an arithmetic grid of horizontal and vertical alignments. Max Bill's work encompassed painting, architecture, engineering, sculpture, and product and graphic design. After study at the Bauhaus with Gropius, Meyer, Moholy-Nagy, Albers, and Kandinsky from 1927 until 1929, Bill moved to Zürich. In 1931 he embraced the concepts of art concret and began to find his way clearly. Eleven months before Théo van Doesburg died in April 1930, he formulated a Manifesto of Art Concret, calling for a universal art of absolute clarity based on controlled arithmetical construction.

Modernism / Modern Movement/New York School (1940’s)
· Intuitive design / less structured compared to European design
· More informal with organizing space
· American approach to European modern design

The first wave of modern design in America was imported by talented immigrants from Europe seeking to escape the political climate of totalitarianism. These individuals brought Americans a firsthand introduction to the European avant-garde. The 1940s saw steps toward an original American approach to modernist design. While borrowing freely from the work of European designers, Americans added new forms and concepts to the tradition of graphic design. European design was often theoretical and highly structured; American design was pragmatic, intuitive, and more informal in its approach to organizing space. Just as Paris had been the most democratic city in the world, with great receptivity to new ideas and images during the late nineteenth and early twentieth centuries, New York City assumed that role during the middle twentieth century.
Perhaps these cultural incubators nurtured creativity because the prevailing climate enabled individuals to realize their potential--or, the existing climate may have been a magnet attracting individuals of great talent and potential. In either case, New York City became the cultural center of the world in the middle of the twentieth century, and graphic design innovation ranked high among its accomplishments.Despite the European underpinnings, unique aspects of American culture and society dictated an original approach to modern design. The United States is an egalitarian society with capitalistic attitudes and values, limited artistic traditions before World War II, and a diverse ethnic heritage. Emphasis was placed on the expression of ideas and an open, direct presentation of information. In this highly competitive society, novelty of technique and originality of concept were much prized, and designers sought simultaneously to solve communications problems and satisfy a need for personal expression. This phase of American graphic design began with strong European roots during the 1940s, gained international prominence for its original viewpoints in the 1950s, and continued until the 1990s.
Perhaps more than any other American designer, Paul Rand (1914-96) initiated this American approach to modern design. His ability to manipulate visual form (shape, color, space, line, value) and skillful analysis of communications content, reducing it to a symbolic essence without being sterile or dull, allowed Rand to become widely influential while still in his twenties. Thoughts on Design, his 1946 book illustrated with over eighty examples of his work, inspired a generation of designers. For all his visual inventiveness, Rand defined design as the integration of form and function for effective communication. The cultural role of the designer was defined as upgrading rather than as serving the least common denominator of public taste. This is a major hallmark of his contribution--perhaps there is a limit to how far a designer can follow the modern painter into the uncharted realm of pure form and subjective expression without losing the vital foothold on public communication.

BCC Logo

All,
I've posted a larger BCC logo on the course web site. Be sure to manipulate the color of the logo within Photoshop so that it fits in with your color scheme. Be mindful of the due dates listed below! We have two more class sessions to complete the digital comprehensive and post it on your blog, along with an essay. Be sure to plan well ahead for the November 9th due date of the mounted digital copies! Your final resolved design can be saved as a PDF file and printed at Staples or Kinkos. (Late copies will lose points!)

The project essay must outline the following:
1. How does your design reflect the mission of the college and engage the audience?
2. How does you design conform to the "rule of thirds"?
3. How have the principles: emphasis, alignment, contrast, balance, flow and repetition
been implemented within your design?
4. What role does color serve within your design?


What’s Due:

10/7 10 Thumbnails – FIRST ROUND

10/14 10 Thumbnails – SECOND ROUND

10/21 Half- Size rough (hand drawn with black sharpie)

11/2 Full Size comprehensive (only digital – posted on blog)

11/9 Final Digital Printed and mounted

Thumbnail Examples

BCC Images for Catalogue Design

Questions to ponder for designing a 2010-2012 BCC catalogue.

Your thumbnails should be mere diagrams that include various notations that explore the ideas below.

• How many people do I want to include within my design?
• What colors will be most ideal?
• Do I want to include images of buildings or the landscape?
• Should I explore both formal grid designs that include only horizontal and vertical elements, and also designs that include dynamic angular elements?
• Should I explore the concept of depth within my design?
• What styles of font will work best?
• How large do I make the fonts?
• How should I cluster information within the design?
• Where should I place my focal point within the “Rule of Thirds” format?
• What information is the most important and then second and third?
• What graphic elements do I use to lead the viewer from the most important element to the second and third most important elements?
• Where do I place the second and third most important elements in order to direct the viewer’s attention to the focal point?
• Should I explore cropping - off images so that they run off the edges of the page?
  

Graphic Media Formats

Steps for Establishing Visual Hierarchy & Evaluating Designs

1. What is your primary message?
2. Which element best communicates the primary message?

3. Is there a secondary message?
4. Which element best communicates this secondary message?

5. Is there a tertiary message?
6. Which element best communicates this tertiary message?

7. Which element is most interesting?
8. Which visual element is the most likely to attract or spark the reader’s attention?

9. Is there a piece of information, which, if unemphasized or unclear, could undermine the usefulness of your message? For instance, if you are designing a charity poster for a play, the location of the play is absolutely critical information; without this information, you may send people roaming in the streets searching for the theater.

10. What, if any information, can you afford to delete from your page? Simpler is often better: simple designs make it easier for you to establish a clear visual hierarchy. Jut because a design is simple doesn’t mean it can’t also be sophisticated.

Project #2 - BCC General Catalog Design- 2010-2012

BCC General Catalog Design- 2010-2012

Professor Groat | Art 125

Your assignment is to design the cover for the Broome Community College General Catalogue for 2010-2012. The design must be visually engaging and reflect the mission of the school. As with all successful visual communication designs, there must be strong evidence of the principles: emphasis, alignment, contrast, balance, flow and repetitio.

Learning Outcomes:

Ø Create a unified and balanced design involving both typography and images.

Ø Articulate verbally and in writing how the design principles: emphasis, alignment, contrast, balance, flow and repetition have been used to create a unified and balanced design that visually communicates the college mission statement and engages the appropriate audience.

Size:

10-1/2” x8-1/4” | Media: digital | Full Color

What’s Due:

10/7 10 Thumbnails – FIRST ROUND

10/14 10 Thumbnails – SECOND ROUND

10/21 Half- Size rough (hand drawn with black sharpie)

11/2 Full Size comprehensive (only digital – posted on blog)

11/9 Final Digital Printed and mounted

What’s Required:

Ø BCC logo and Tagline, Images of people, General Catalog 2010-2012

Ø Full Color

Ø Mounted Rough and Comprehensive on black foam board. 2.5 inches all around, 3 inches on the bottom

Ø Thumbnails, Rough and Comprehensive presented on blog!

Ø Blog Essay

Graded On:

Ø How well you address the needs of the assignment

Ø Craftsmanship, postings on blog, essay, meeting due dates

Mission

Broome Community College provides:

• open access to those who can benefit from its programs and services.
• university-parallel degree programs for students aspiring to baccalaureate degrees and professions.
• occupational and technical degree and certificate programs for students aspiring to careers in business, health, technology, and human services.
• General Education to broaden and deepen students’ intellectual, moral, civic, and social competence for effective participation in the world community.
• collaborative leadership among the diverse institutions, organizations, agencies, and other entities that comprise our community.
• community and continuing education and training to serve the needs and interests of individuals, employers, and agencies.
• career advising, skills and knowledge assessment, and related support services to help students reach their full potential.
• a community of free inquiry and educational achievement wherein each member is treated respectfully.
• a broad range of educational, social, athletic, and recreational activities to foster students’ personal development, community involvement, and leadership skills.

Values

In fulfilling its mission and fashioning its goals, Broome Community College affirms these commitments:

• to Learning		The primary reason BCC exists is to offer lifelong learning opportunities for our students under the principle of free and open inquiry. These opportunities are accessible, affordable, and of the highest quality possible.
• to Excellence		In fulfilling our mission, achieving excellence is a process both valued and expected. We value both the leadership of individuals and collaboration of teams as part of a continuous improvement effort.
• to Equity		Respecting both individual rights and social obligations, the College is an advocate for fairness and just treatment for all students and staff.
• to Diversity		BCC values and celebrates the diversity of its students and employees. We respect their diverse life experiences, appreciate their contributions to our learning community, and promote individual development and success.
• to Accountability		We honor the trust placed in us by the larger community and understand our accountability for efficient and effective use of resources. We also expect personal honesty, integrity, and responsibility to be essential elements in our learning environment.
• to Innovation		BCC encourages all members of its community to imagine. We nurture an environment of innovation and experimentation and invite all to participate in the unique possibilities of a learning community.

2007-2009 Catalog

2005-2007 Catalog

Blog Essay Outline for Black &White Typographical Design. Questions to address within the essay.

1. What fonts did you choose?

2. Why did you choose these fonts?

3. What attracted you to the fonts?

4. How would you characterize the unique form of the fonts you have chosen?

5. What shapes are contained within the chosen fonts?

6. How did the forms and counter forms of the fonts influence your design?

7. How did you implement the “Rule of Thirds” within your design?

8. How have you specifically used the principals of emphasis, contrast, balance, flow and repetition within your design? Please provide a detailed description of how each principal was implemented.

DESIGN STYLES

Typography

FORMS & COUNTERFORMS IN TYPOGRAPHY!

Hello All,
Be sure that your second round thumbnails involve "forms" and "counterforms" of the fonts you choose! Please study my diagram below. A few of you are using shapes that are really not true counterforms. The idea is to study the abstract nature of the font (which in the long run will help you with logo design) Remember, 10 second round thumbnails are due for Monday. You may REPEAT COUNTERFORMS & FORMS OF TWO TO THREE LETTERS AS MANY TIMES AS YOU WISH! Be sure to implement the FIVE DESIGN PRINCIPALS WE STUDIED IN THE LAST PROJECT!

Good luck!
Prof Groat

GRAPHIC DESIGN PRINCIPLES

PROJECT #1 SPECS

Black &White

Typographical Design

Your assignment is to create a grayscale typographical design that explores the principals of form and space. The design must involve the principles: emphasis, contrast, balance, flow and repetition, and must

consist of both the forms and counter forms of two or three different fonts.

Learning Outcomes:

Ø Create unified and balanced typographical design consisting of various forms and counter forms.

Ø Articulate how the design principles emphasis, contrast, balance, flow and repetition have been used to create a unified and balanced design.

Size:

8”x8” | Media: digital | Grayscale : no color

What’s Due:

9/9 10 Thumbnails

9/16 Full Size rough (hand drawn with black sharpie)

9/28 Full Size comprehensive (only digital – posted on blog)

10/5 Final Digital Printed and mounted

What’s Required:

Ø Mounted Rough and Comprehensive on black foam board. 2.5 inches all around, 3 inches on the bottom

Ø Thumbnails, Rough and Comprehensive presented on blog!

Graded On:

Ø How well you address the needs of the assignment

Craftsmanship and meeting due dates

FORM & COUNTER FORM IN TYPOGRAPHY

SAMPLE PROJECT #1

SAMPLE PROJECT #1

READING SCHEDULE

READING SCHEDULE

PROFESSOR GROAT

ART 125 – FALL 2009

August 31

DESIGN PROCESS

http://en.wikipedia.org/wiki/Design#Design_as_a_process

GRAPHIC DESIGN OCCUPATIONS:
http://en.wikipedia.org/wiki/Graphic_design_occupations

BLOG:

http://en.wikipedia.org/wiki/Blog

________________________________________________________________________

September 2

FONT

http://en.wikipedia.org/wiki/Font

TYPOGRAPHY:

http://en.wikipedia.org/wiki/Typography

LIST OF TYPEFACES:

http://en.wikipedia.org/wiki/List_of_typefaces

___________________________________________________________________________

September 7 No School—Labor Day

__________________________________________________________________________

September 9

“RULE OF THIRDS”

http://en.wikipedia.org/wiki/Rule_of_thirds

GRID

http://en.wikipedia.org/wiki/Grid_%28page_layout%29

DESIGN PRINCIPLES

http://en.wikipedia.org/wiki/Design_principles_and_elements#Principles_of_design

http://char.txa.cornell.edu/language/principl/principl.htm

http://char.txa.cornell.edu/language/element/element.htm

http://gort.ucsd.edu/preseduc/design.htm

___________________________________________________________________________

September 14

GRAPHIC DESIGN

http://en.wikipedia.org/wiki/Graphic_design

http://en.wikipedia.org/wiki/Category:Graphic_design

TYPE SETTING:

http://en.wikipedia.org/wiki/Typesetting

LETTER SPACING

http://en.wikipedia.org/wiki/Tracking_(typography)

_________________________________________________________________________

September 16

PAGE LAYOUT

http://en.wikipedia.org/wiki/Page_layout

COMPREHENSIVE LAYOUT

http://en.wikipedia.org/wiki/Comprehensive_layout

THUMBNAIL SKETCHES

http://en.wikipedia.org/wiki/Thumbnail#Thumbnail_Sketches

AMERICAN INSTITUTE OF GRAPHIC ARTS

http://en.wikipedia.org/wiki/AIGA

http://www.aiga.org/

___________________________________________________________________________

September 21

COMMUNICATION DESIGN

http://en.wikipedia.org/wiki/Communication_design

GRAPHIC DESIGN COMPETITIONS:

http://www.graphiccompetitions.com/

HOW MAGAZINE:

http://www.howdesign.com/competitions/

GRAPHIC DESIGN BASICS:

http://www.graphicdesignbasics.com/

___________________________________________________________________________

September 23

KERNING

http://en.wikipedia.org/wiki/Kerning

LEADING

http://en.wikipedia.org/wiki/Leading

___________________________________________________________________________

September 28

LIGATURE

http://en.wikipedia.org/wiki/Typographical_ligature

___________________________________________________________________________

September 30

FILE FORMATS

http://en.wikipedia.org/wiki/File_format

___________________________________________________________________________

October 5

STAMP TEXTUAL ELEMENTS

http://en.wikipedia.org/wiki/Postage_stamp_design#Textual_elements

__________________________________________________________________________

October 7

STAMP DESIGN PROCESS

http://en.wikipedia.org/wiki/Postage_stamp_design#Design_process

__________________________________________________________________

October 12

___________________________________________________________________________

October 14

___________________________________________________________________________

October 19

HISTORY OF GRAPHIC DESIGN:

http://en.wikipedia.org/wiki/Graphic_design#History_of_graphic_design

___________________________________________________________________________

October 21

GRAPHIC DESIGN OCCUPATIONS:

http://en.wikipedia.org/wiki/Graphic_design_occupations

__________________________________________________________________________

October 26

GRAPHIC DESIGN CAREER INFORMATION:

http://www.adigitaldreamer.com/

http://www.gdusa.com/

http://www.allgraphicdesign.com/

__________________________________________________________________________

October 28

INTERNATIONAL TYPOGRAPHIC STYLE:

http://en.wikipedia.org/wiki/International_Typographic_Style

MILTON GLASER:

http://en.wikipedia.org/wiki/Milton_Glaser

PAUL RAND:

http://en.wikipedia.org/wiki/Paul_rand

_________________________________________________________________________

November 2

ART NOUVEAU:

http://en.wikipedia.org/wiki/Art_Nouveau

__________________________________________________________________________

November 4

POSTER:

http://en.wikipedia.org/wiki/Poster

POSTER HISTORY:

http://www.internationalposter.com/about-poster-art/a-brief-history-of.aspx

POSTER DESIGN PROCESS

http://www.owlnet.rice.edu/~cainproj/designing.html

___________________________________________________________________________

November 9

POSTER HISTORY:

http://en.wikipedia.org/wiki/Poster#Poster_history

NOTABLE POSTER ARTISTS:

http://en.wikipedia.org/wiki/Poster#Notable_poster_artists

INTERNATIONAL POSTER GALLERY:

http://www.internationalposter.com/

POSTER GALLERY:

http://lib.colostate.edu/posters/gallery.html

___________________________________________________________________________

November 11

FILM POSTERS:

http://en.wikipedia.org/wiki/Film_poster

___________________________________________________________________________

November 16

SUSTAINABLE GRAPHIC DESIGN

http://en.wikipedia.org/wiki/Sustainable_graphic_design

__________________________________________________________________________

November 18

GRAPHIC DESIGN PORTFOLIOS

http://graphicdesign.about.com/od/buildingaportfolio/a/portfolio_types.htm

___________________________________________________________________________

November 23

STARTING A GRAPHIC DESIGN BUSINESS

http://desktoppub.about.com/od/freelancedesign/Freelance_Graphic_Design_and_Desktop_Publishing.htm

___________________________________________________________________________

November 25 THANKSGIVING BREAK!

________________________________________________________________________

December 2

ADVERTISING:

http://en.wikipedia.org/wiki/Advertising

___________________________________________________________________________

December 7

PACKAGING:

http://en.wikipedia.org/wiki/Packaging

PRODUCT DEVELOPMENT:

http://en.wikipedia.org/wiki/New_product_development#The_process

Introduction To Computer Graphics Art/Com 125

Professor Hall Groat | Fall 2009

Meeting Times and Days

Monday & Wednesday – 2-3:50

Location: AT 217

OFFICE HOURS:

Monday 1-2PM | Wednesday 12-2PM

OFFICE LOCATION: Art Annex, Rm.#101

Phone: 778-5612 | E-mail: Groat_H@sunybroome.edu

Course Description

The study of Visual Communication theory relating to applied arts fields such as, advertising and editorial design, animation, gaming, and web design. Students are introduced to Adobe Photoshop, Illustrator and Quarkxpress on Machintosh Computers, and learn how to develop initial thumbnail sketches into final digital comprehensives. Other topics include digital photography, scanning, image manipulation, color correction, typography, blogging and graphic design history.

Learning Outcomes

Art/Com 125

Introduction to Computer Imagery (Visual Communication I)

Students will be able to:

• Apply classical design theory to page layout, typographical composition and image manipulation.

• Employ knowledge regarding various vector, raster and page layout digital software.

• Articulate verbally and in written form the inherent process for conceiving a visual communication piece, such as a poster, print media advertisement or program cover.

• Recognize significant cotemporary and historic graphic designers that were integral to the development of several design movements.

• Describe verbally and in written form distinguishing characteristics relating to several design movements.

• Investigate various professions relating to various visual communication fields, such as editorial design, advertising design, corporate design, book design, music/record design, information design, animation.

Time Frame

August 24 Introduction / Course Overview / Requirements / Biographies / Course Supplies

__________________________________________________________________

August 26 Project #1

Typographical Design _________________________________________________________________

August 31 Project #1

__________________________________________________________________

September 2 Project #1

___________________________________________________________________

September 7 LABOR DAY – NO CLASS

___________________________________________________________________

September 9 Project #1

___________________________________________________________________

September 14 Project #1

___________________________________________________________________

September 16 Project #1

___________________________________________________________________

September 21 FIELD TRIP

___________________________________________________________________

September 23 Project #1

___________________________________________________________________

September 28 Project #1 Due | Critic #1

__________________________________________________________________

September 30 Project #2 Begin

PRINT AD REDESIGN

__________________________________________________________________

October 5 Project #2

__________________________________________________________________

October 7 Project #2

___________________________________________________________________

October 12 MID SEMESTER BREAK & COLUMBUS DAY

________________________________________________________________

October 14 Project #2

________________________________________________________________

October 19 Project #2

________________________________________________________________

October 21 Project #2

________________________________________________________________

October 26 Project #2 Due | Critic #2

________________________________________________________________

October 28 Project #3 Begin

HISTORY POSTER DESIGN

________________________________________________________________

November 2 Project #3

________________________________________________________________

November 4 Project #3

________________________________________________________________

November 9 Project #3

_______________________________________________________________

November 11 Project #3

________________________________________________________________

November 16 Project #3

_________________________________________________________________

November 18 Project #3

_________________________________________________________________

November 19 Project #3 Due | Critic #3

_________________________________________________________________

November 23 Project #4 Begin

_________________________________________________________________

November 25 NO CLASS – Thanksgiving

_________________________________________________________________

November 30 Project #4

________________________________________________________________

December 2 Project #4

_________________________________________________________________

December 7 Project #4

________________________________________________________________

December 9 DIGITAL PORTFOLIO COMPLETED ON BLOG

__________________________________________________________

December 14 FINAL CRITIQUE

Course Format

The course will be comprised of selected readings, discussions, traditional studio work, digital studio work, blogging, and critiques. At the beginning of each class a reading will be assigned that directly relates to the current graphic project.

Assessment and Grading

25 % Critiques & Class Participation

(Contributing thoughts during class discussions & critiques)

75 % Projects / Digital Portfolio on Blog

Attendance

Attendance is mandatory. If you miss more than three classes your grade will be dropped an entire letter grade—unless you have a written medical excuse. (Attendance will be taken each time class meets)

Materials and Supplies

Purchased at Office Max, Ames, AC Moore

• Digital Camera with USB Cable
• 18” Ruler with metal edge
• Sketch Pad (for sketches, roughs and comps)
• 8.5x11 Graph Paper
• Mounting Tape (preferably acid free type)
• Flash Storage Disk / Jump Drive 1 Gigabyte or greater
• Black Ink Felt Tip Pen & Soft Lead Pencil