Intro to Graphic Design syllabus

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Intro to Graphic Design syllabus

  1. 1. 22-2330: INTRODUCTION TO GRAPHIC DESIGN SPRING 2010 | Tues 6:00 – 9:50 pm INSTRUCTOR: Shawn Calvert scalvert@colum.edu last day to add a class Course Description Saturday, Jan 30 This course introduces students to graphic design as a form of visual communication through last day to drop class the use of type, image, form, and color. Projects explore design processes in two and three Saturday, Feb 6 dimensions, visual identity and communication, thematic structure and hierarchy, creative problem solving, and basic design practice of critiques and discussion. last day to withdraw Saturday, Mar 20 Pre-Enrollment Criteria 22-1220 Fundamentals of 2-D Design 22-1210 Drawing I 22-1320 Design Lab 22-1101 Hist of ArtI:Stone Age to Gothic 22-1310 Beginning Typography 22-1102 Hist of ArtII:Renaissance Modern General Course Objectives n To introduce the student to the field of graphic design, the realities of design practice and the procedures of the designer. n To develop systems of creative thinking that will aid in solving visual problems. n To explore how problems are resolved in graphic design and how ideas are generated. n To understand and define successful graphic design. n For students to develop professional attitudes toward themselves, their peers, and colleagues in the profession of graphic design as a whole. Disclaimer This syllabus is subject to change at any time during the semester. You will be notified of any changes or will be issued a new syllabus.
  2. 2. research; and by refusing to give or receive information on tests and examinations to or from other students. If you violate these principles of simple honesty, you risk embarrassment, course failure, and disciplinary action. It is simply not worth it. AT T E N D A N C E & A B S E N C E S Attendance is required in all Art + Design classes. In each class, attendance is tied to specific learning outcomes and to course grades. Any absence will affect your ability to complete coursework successfully. There are no excused COURSE D E TA I L S absences. More than three absences is cause for failure. Here are some examples of the ways in which attendance Text connects with learning outcomes: (required) Dabner, David, Sheena Calvert, Anoki Casey. 1 Students critique and evaluate each other’s work Graphic Design School, 4th ed. Wiley, 010. in class and it is essential for your progress and learning ISBN: 978-0-470-46651-3 experience to be present to do so. Critiquing develops analytical skill and communication proficiency. 2 Students frequently collaborate on projects and Materials in-class exercises, and learning these skills requires you to be present. n medium sized sketchbook (dedicated to this class) 3 Participating in class discussions and critiques n pencils, pens, watercolors, markers of choice helps you develop skill in self-expression and n black mounting board (purchase as needed) verbal/rhetorical abilities n storage media of choice (firewire/USB 2.0 external, ipod, Tardiness and early departure will also be considered a flashdrives) violation of the absence policy. Attendance will be taken at the start of each class. Being late to class twice (15 minutes or more), or leaving before the end of class twice Course Fee (or instructor dismissal), will equal an absence. While I appreciate being informed if you are arriving late or leaving Course fees are used to support special class materials and early, the attendance mark is automatic nonetheless. Class activities. A certain percentage of the course fee will be will not dismiss earlier than 9:20, so if you leave before credited directly to your student card after the add/drop then, you will receive and early departure. Attendance will deadline. The course fee funds on your card are directly be recorded in Moodle after each class; it is the student’s linked to this specific course and the balance will return to responsibility to keep track of their attendance record. zero one week following the end of the semester. E X P E C TAT I O N S Students with Disabilities Statement Students with disabilities are requested to present their To do well in this course, plan on an average of at least 6–8 Columbia accommodation letters to their instructor at the hours of work per week outside of class. Project schedules beginning of the semester so that accommodations can be are designed to give students time for critical and creative arranged in a timely manner by the College, the department revisions; the drafts leading to the final version of a project or the faculty member, as appropriate. Students with should represent active experimentation, critical self- disabilities who do not have accommodation letters should assessment, and personal commitment to the work. visit the Office of Services for Students with Disabilities Arrive at class on time, with your materials, your projects (312-369-8134/V or 312-360-0767/TTY). prepared, and ready to work. There will be two 15-minute breaks per class. While in class, you are expected to work on class projects; internet usage should be limited to class- Academic Integrity related research. Academic integrity is one of the most cherished principles You are expected to be an enthusiastic participant in this of the Columbia community. You must adhere to this class and take ownership of your work and development principle: by understanding the nature of plagiarism and as a creative professional. The function of critiques is not by not plagiarizing materials; by refraining from the use of only to receive feedback on your work, but to build essential unauthorized aids on tests and examinations; by turning skills of presentation, negotiation, and persuasion. in assignments which are products of your own efforts and  | introduction to graphic design
  3. 3. GRADES COURSEWORK A project will be evaluated by the following criteria: Each project will be provided with a detailed project sheet. Be sure to follow the instructions carefully. Reread the 1 following instructions accurately and meeting deadlines, directions prior to handing in your projects. Failure to 2 appropriateness of solution to project design brief, comply with these instructions will effect your grade. 3 uniqueness of solution, demonstration of creativity and We will critique work-in-progress as well as finished projects. purposeful experimentation, Critiques are meant to develop skills of presentation and discussion and should be approached in a professional 4 craftmanship and attention to detail, and manner. The presentation of work is an essential part of the 5 presentation. project as well as your development as a creative professional. Creating the work is only part of the process—you must be There will be something due each week that will affect your able to present your work as the right solution to the given grade. Deadlines are clearly noted in Moodle and/or project design problem. printouts. It is your responsiblity to keep track of when your work is due and to ensure that you are clear on expectations Unless instructed otherwise, work must be printed out to be before starting your projects. accepted for review, class viewing or grading. If you wait until 10 minutes before class to print out your work and All grades and comments will be posted through Moodle. then run into printing problems, that is not a valid excuse for late work. Any work brought into class after a crit has started will be counted as late. All work must be posted in Grade Breakdown Moodle for credit; if the work is analog (like a pencil sketch), it should be scanned or photographed and Four projects — 100pts each uploaded (image quality isn’t an issue). Exercises — 10pts each 2 Quizzes — 50pts each Projects vs. Exercises Self Evaluation — 100pts Throughout the course, we will have around 10 in-class exercises that will be graded on a credit/no-credit basis. The exercises are intended to build specific skills that will be needed for projects, or to reinforce topics and/or design techniques. GRADE DESCRIPTION GRADE AVG You will be given time to complete exercises in class. A excellent 96-100 A- 91-95 Late Work B+ 88-90 B above average 84-87 All work will be due at specific dates as outlined in the B- 80-83 course schedule, and will be due at the beginning of class. C+ 77-79 Exercises If you do not complete the work in-class or are C average 73-76 absent, then exercises must be submitted in Moodle before C- 70-72 the beginning of the next class (i.e., within one week). Late D below average 60-69 exercises will not be accepted for credit (not negotiable). F failure below 60 Project drafts/work-in-progress All in-progress project FX failure for non-attendance work must be turned in on the date specified. Missed P pass work will count a full letter off the final project grade. All I Incomplete (not given) in-progress work is posted in Moodle, so class attendance R course repeated is not required to the ability to turn in work. W withdrawal Project finals If your project final is one week late, your project will drop 1 full grade, two weeks late, your project will drop 2 grades. Project finals will not be accepted after two weeks. Please don’t miss class because you haven’t finished your work. Backing Up Your FIles Losing work due to failed media or overwritten files is not an excuse for late work. Students are expected to have an effective backup strategy for all of their files. It is suggested that this strategy includes dupicate back-ups of all working and final files. Please note that lab computers are completely erased at the end of each day. introduction to graphic design | 3
  4. 4. SOFTWAR E T R A I N I N G RECOMMENDED READING Design Lab is required to be taken prior to Introduction to Bierut, Micheal, et al. Looking Closer (series). Allsworth Graphic Design, so a certain amount of familiarity with the Press. software used in class is expected. Bringhurst, Robert. The Elements of Typographic Style. Please note that while there will be some software tutorials Hartley and Marks Publishers, 2004. covered in this class, it is not the primary focus. If you lack Communication Arts (magazine) the basic skill levels for Adobe CS (InDesign, Illustrator and Photoshop) tutors can be scheduled through the Graphics Cullen, Kristen. Layout Workbook. Rockport, 2007. Lab on the 9th Floor, 623 South Wabash Street or tutorials CDs can be taken out on loan. designobserver.com Dot Dot Dot (magazine) Elam, Kimberly. Grid Systems. Princeton Architectural CLASS NE W S A N D U P D AT E S Press, 2004. Felici, James. The Complete Manual of Typography. Adobe I will be contacting you via email (through the Moodle Press, 2002. News Forum) with reminders, changes or any other pertinent information. Please check your email at least French, Nigel. InDesign Type: Professional Typography with 24hrs before class or more often. It is your responsibility to Adobe InDesign CS2. Adobe Press, 2006. manage your mailbox so that lines of communication are open Friedl, Fredrich. Typography. Black Dog and Leventhal and available. Publishers, 1998. I will also be posting up-to-date project handouts, Heller, Steven. The Anatomy of Design. Rockport, 2007. presentation pdfs, and the syllabus/calendar with any updates on Moodle. If you misplace your project handouts Heller, Steven and Teresa Fernandez. Becoming a Graphic you will find them on Moodle for the duration of the project. Designer. Wiley, 2005. Hochuli, Jost and Robin Kinross. Designing Books: Practice and Theory. Hyphen, 2004. CONTACT I N G T H E I N S T R U C T O R How (magazine) The best way to contact me is through email; I will get Lidwell, William. Universal Principles of Design. Rockport, back to you within the day. Please note that I only check 2003. my Columbia email after 6 pm on weekdays. If the issue Lupton, Ellen. Thinking with Type. Princeton Architectural is an emergency, please call my cell phone. I am only on Press, 2004. campus during class hours, but will be available for student meetings during breaks or after class. Meggs, Philp and Alston Puvis. Meggs’ History of Graphic Design, 4th ed., Wiley, 2006. Müller-Brockmann, Josef. Grid Systems in Graphic Design. Arthur Niggli, 1996. Print (magazine) Samara, Timothy. Making and Breaking the Grid. Rockport, 2002. Shaughnessy, Adrian. How to be a Graphic Designer Without Losing Your Soul. Princeton Architectural Press, 2006. Various. Type Director Club Annuals. Watson-Guptill Publications. Weingart, Wolfgang. My Way to Typography. Lars Müller, 2000. White, Alex. Thinking in Type. Allsworth Press, 2004. White, Alex. The Elements of Graphic Design. Allsworth Press, 2002. 4 | introduction to graphic design
  5. 5. MOODLE After your work is posted, you have a 30 minute grace period to delete or edit the posteing (unless you check Moodle is a new learning management system (LMS) at “email now” – we will walk through this in class). After your Columbia that is available as an alternative to Oasis. To work is up, you can comment on class postings by clicking enter the Moodle site, go to moodle.colum.edu, log in with “reply” at the bottom of an entry. your Oasis ID, and you should see our class under “My Courses.” On the course site landing page, you will find all of the same information that you would normally find in Oasis; grades, attendance records, handouts, etc, but in a more user-friendly interface. Below are the primary Moodle features that we will be using in this class. 1 2 3 4 3 1 News Forum News items topics can be posted by the instructor only and will be used to notify the class of any course changes, emergencies, and general reminders and clarification to assignments. You will automatically receive an email notification of any items posted to the News Forum. 2 Class Forum The two faces icon indicates a forum . The general class forum (located above the first week) is open to the entire class for any postings of interest relevant to the course, assignment questions, and impromptu requests for feedback on your work. Posting in this forum will send an email to the class. introduction to graphic design | 5
  6. 6. 3 Assignments 4 Resources Wherever you see the assignment icon , that is a Resource entries include project information pages, pdf location where something needs to be turned in (uploaded downloads, presentations, and web links. through Moodle). Assignment icons appear in the week Project information pages will contain a pdf of the project that the particular project or exercise is due. At the bottom sheet provided in class, project files, student work samples, of the project page is an area to upload and submit your and additional resources related to the project. project files (see below). The dates & times listed in the assignment refer to when the assignment is open for submission and the deadline for projects to be considered on-time. On assignments that are not accepted late, such as project work-in-progess and exercises, the due date is when the submission function will turn off. Once you have uploaded a file into the “Submission Draft” area, a new button appears: Send for Marking. Until you send the files for marking, you can delete and replace your files, but are still available to the instructor in case you forget to do the “send for marking” step. 6 | introduction to graphic design
  7. 7. COURSE SCHEDULE 1/6 Introductions/What is Graphic Design? Exercise 1 circle, square, triangle for next week Project 1 poster roughs/research Reading handouts (posted in Moodle) / Language of Graphic Design Project 1 in-progress crit Exercise 2 for next week Project 1 poster revisions Reading GDS Units 1, 2 /9 Layout: Foundations Project 1 in-progress crit Exercise 3 for next week Project 1 poster final Reading GDS Unit 3 /16 Typography Review/Document Structure Project 1 final crit Exercise 4 for next week Project 2 brochure roughs Reading GDS Unit 4 /3 Color Project 2 in-progress crit Exercise 5 for next week Project 2 brochure revisions Reading GDS Unit 5 3/ Image Project 2 in-progress crit Exercise 6 for next week Project 2 brochure revisions Reading GDS Unit 6 3/9 Production Issues Project 2 in-progress crit Exercise 7 for next week Project 2 brochure revisions Reading handouts (posted in Moodle) introduction to graphic design | 7
  8. 8. 3/16 Sign, Symbol, Logo Project 2 final crit Quiz 1 for next week Project 3 logo roughs Reading handouts 3/3 NO CLASS 3/30 Intro to Branding Project 3 in-progress crit Exercise 8 for next week Project 3 logo revisions Reading handouts 4/6 Type as Image Project 3 in-progress crit Exercise 9 for next week Project 3 logo final Reading review Des El chapter 3 4/13 Intro to Web Design Project 3 final crit for next week Project 4 sitemap, wireframes Reading GDS Unit 6 4/0 Web Design Process Project 4 in-progress crit Exercise 10 for next week Project 4 revised sitemap, first visual designs Reading handouts 4/7 HTML & CSS Project 4 in-progress crit Exercise 11 for next week Project 4 revised visual designs 5/4 Review & Lab Project 4 in-progress crit, in-class lab for next week Project 4 final Self-evaluation (due by Sunday, 5/16) 5/11 Final Project 4 final Quiz 2 8 | introduction to graphic design
  9. 9. 22-2330: INTRO TO GRAPHIC DESIGN Project 1 Festival Poster A poster should tell Description its story at once—a design Create a poster design to promote a classical music festival. There will be three groups, each that needs study is not with a different composer. Your design should reflect an understanding of the historical context a poster, no matter how of the music, represented in both type choice and graphic imagery. Your work can appropriate well it is executed. historical styles, or may take a more contemporary vision of the composer’s work. Your work  Edward Penfield should, however, clearly demonstrate an understanding of historical context and the music itself. For example, you may choose to pick up imagery related to the composer or his era (see ex a), or you might interpret the music in more abstract imager (see ex B). While you may use found photography, ephemera, printed matter, etc, you must manipulate, retranslate, or in some way alter the meaning of the images enough to make them “your own” (see ex C). Posters are meant to exist in a public space, and should communicate to the viewer from across the room as well as up close (see ex A). Its message and meaning should be clear and quickly grasped by the viewer; pay special attention to strong contrasts of color, value, scale, and positive/ negative space. Your poster will also contain detailed information about the festival concerts. This information should be set with a clear hierarchy of information. This information is intended for close viewing, so should be set at a comfortable size and weight for standard text legibility (see ex B). However, your poster should not look like an image with type slapped on; your image and text should all be a part of the same message and composition. Specifications A n Print size will be 18 x 24 inches. Can be vertical or horizontal. See schedule below for details on print sizes needed for crits. If your colors bleed, trim off the edges before presenting. Ask if you are unsure about how to set up bleeds and crop marks when printing. n You may only use 4 Pantone colors (and screens of these 4 colors). These will not be literal spot colors, but will be defined as global process swatches. n You can use Illustrator, Photoshop, or InDesign to create your layouts. Images should be placed at no less than 225ppi. If you are not using vector images, keep the resolution requirements in mind when researching and using images. Steps 1. Due 2/2—Present 5 concepts to your group, along with your research from the questionnaire. Your focus on these should be on visual concepts, not creating a polished work. While you should have 5 concepts to present, those concepts should be developed out of dozens of sketches. You will select the strongest concept during a crit with your group. Post B your sketches in Moodle. 2. Due 2/9—Revised design for review. Print two tabloid sized sheets and tile together (we will go over how to set this up in class). Trim off any bleeds. Post pdf of work in Moodle. 2. Due 2/16—Final design, printed full scale. You are not required to mount the work, but the printouts should be kept flat and clean. You may tile work and assemble with care, or (preferably) print at full size on a large format printer. Trim off any bleeds. Post final pdf in Moodle. C
  10. 10. 22-2330: INTRO TO GRAPHIC DESIGN Project 3 Composer research When and where was your composer born? List any interesting biographical details. Is your composer considered part of a musical or visual art movement? List a few contemporary visual artists that would have been near the composer’s circle. Give some details (or examples) of art that would fit the historical context of your composer. Give some adjectives that would describe the music. List 2–3 typefaces that are of the composers era. Are there themes in the work that you can relate to contemporary issues?
  11. 11. 1 GROUP 22-2330: intro to Graphic desiGn Project 3 Festival poster [note to designer: the copy below is not formatted; please design and structure the text as you think best] [Festival title] NEC Presents Celebration of Steve Reich, November 28--29 [Festival schedule] Wed., Nov. 28 5pm – Brown Hall Piano Phase for two pianos (1967) - Stephen Drury & Yukiko Takagi Different Trains for string quartet and tape (1988) - Borromeo String Quartet 8pm – Jordan Hall Six Pianos (1973) – [nec]shivaree, Stephen Drury, director Music for Eighteen Musicians (1976) - Callithumpian Consort, Stephen Drury, director Thurs., Nov. 29 5pm – Brown Hall Violin Phase for four violins – [nec]shivaree Drumming (1971) - Callithumpian Consort 8pm – Jordan Hall Triple Quartet for string orchestra (1998) - NEC Philharmonia, Stephen Drury, conductor Vermont Counterpoint for 11 flutes (1982) - NEC Contemporary Ensemble, John Heiss, director City Life - NEC Wind Ensemble, Charles Peltz, director Daniel Variations - NEC Philharmonia, Drury conducting Emily Spear, Sheena Ramirez, Jonathan Reed, Alex Powell, soloists [contact info] New England Conservatory Jordan Hall Box Office 30 Gainsborough Street Boston, MA 02115 (617) 585-1260 newenglandconservatory.edu
  12. 12. 2 GROUP 22-2330: intro to Graphic desiGn Project 3 Festival poster [note to designer: the copy below is not formatted; please design and structure the text as you think best] [Festival title] The Stravinsky Project Xak Bjerken, Director February 19–23 [Festival schedule] Except for the Cornell Concert Series performance on Feb 28, all events are free and open to the public. Thursday, Feb 19 12:30 PM B20 Lincoln Hall Midday Music at Lincoln: a Kabuki-inspired Oedipus rex. Friday, Feb 20 8:00 PM Barnes Hall Auditorium Opening concert: guest pianist Christina Dahl plays Petrushka and Mussorgsky’s Pictures at an Exhibition, and is joined by Xak Bjerken for Four Etudes and Adams’s Hallelujah Junction. Saturday, Feb 21 10:30 AM Johnson Museum of Art Lecture by musicologist Glenn Watkins: “The Cosmopolitan Stravinsky: Culture and the Search for an Angle.” Saturday, Feb 21 1:30 PM B20 Lincoln Hall Lecture by John McClure, former director of Columbia Masterworks and producer for most of Stravinsky’s recordings: “Working with Stravinsky.” Saturday, Feb 21 8:00 PM Barnes Hall Auditorium Ensemble X; Steven Stucky and guest Mark Davis Scatterday, conductors. Features Octet, Three Pieces for String Quartet, the classic Octandre of Varèse, and Judith Kellock singing Three Japanese Lyrics, Two Poems of Konstantin Bal’mont, and Ravel’s Mallarmé Songs. Pre-concert discussion 7:15-7:45 pm. Sunday, Feb 22 3:00 PM Bailey Hall Three Classics: Les Noces (“The Wedding”) conducted by Scott Tucker; Concerto in D, performed by the Cornell Symphony Orchestra, conducted by John Hsu; and “Dumbarton Oaks” Concerto, played by the Cornell Chamber Orchestra, Xak Bjerken, conductor. Monday, Feb 23 4:15 PM 316 Lincoln Hall Music Colloquium: lecture by Dimitri Shapovalov, “Stravinsky’s Approach to Text: How to Sing Russian without Accents.” [contact info] Sponsored by the Department of Music, Cornell Council for the Arts, Department of Russian, Center for European Studies, Percy Browning, and Joan Niles Sears. Cornell University Music Department 101 Lincoln Hall Ithaca, NY 14853 www.arts.cornell.edu/music/
  13. 13. 3 GROUP 22-2330: intro to Graphic desiGn Project 3 Festival poster [note to designer: the copy below is not formatted; please design and structure the text as you think best] [Festival title] Debussy and His World August 10–12 [Festival schedule] Friday, augusT 10 Olin Auditorium 8:00 p.m. Preconcert Talk: Leon Botstein 8:30 p.m. Performance: Jonathan Biss, piano; Colorado Quartet; Jeremy Denk, piano; Dennis Helmrich, piano; Dominique Labelle, soprano; New York Virtuoso Singers, Harold Rosenbaum, music director; Karl Paulnack, piano CLAUDE DEBUSSY (1862–1918): Ariettes oubliées (Verlaine) (1903); L’isle joyeuse, for piano (1904); Estampes, for piano (1903); String Quartet in G Minor, Op. 10 (1893); Printemps, for piano four-hands and female chorus (1887; 1904); En blanc et noir, for two pianos (1915) saTurday, augusT 11 Olin Auditorium 1:00 p.m. Preconcert Talk: Robert Martin 1:30 p.m. Performance: Laura Ahlbeck, oboe; Melvin Chen, piano; Jeremy Denk, piano; Eugene Drucker, violin; Dennis Helmrich, piano; Karl Paulnack, piano; Sarah Pelletier, soprano; Steven Tharp, tenor; Leon Williams, baritone GABRIEL FAUR´E (1845–1924): Violin Sonata No. 1 in A Major, Op. 13 (1876) SONGS AND ARIAS BY Emmanuel Chabrier (1841–1894), Georges Bizet (1838–1875), Charles Gounod (1818–1893), Reynaldo Hahn (1874–1947), Jules Massenet (1842–1912), Edouard Lalo (1823–1892), Gabriel Pierné (1863–1937), Benjamin Godard (1849–1895), Ambroise Thomas (1811–1896) CAMILLE SAINT-SAËNS (1835–1921): Oboe Sonata in D Major, Op. 166 (1921) suNday, augusT 12 Olin Auditorium 4:30 p.m. Preconcert Talk 5:00 p.m. Performance: Jean-Efflam Bavouzet, piano; Randy Bowman, flute; Melvin Chen, piano; Colorado Quartet; Sara Cutler, harp; Jeremy Denk, piano; Dennis Helmrich, piano; Jeffrey Lang, horn; Susan Platts, mezzo-soprano; Nardo Poy, viola; Jonathan Spitz, cello; Steven Tharp, tenor; Eric Wyrick, violin CLAUDE DEBUSSY (1862–1918): Images, series 1, for piano (1901–05) PAUL DUKAS (1865–1935): Villanelle, for horn (1906) SONGS BY Désiré-Emile Inghelbrecht (1880–1965) and André Caplet (1878–1925) [contact info] Bard College Tickets: Bard Music Festival, PO Box 5000, Annandale-on-Hudson, NY 12504-5000 ph: 845-758-7410 www.fishercenter.bard.edu
  14. 14. 22-2330: INTRO TO GRAPHIC DESIGN Project 3 Logo & Business Card Description definitions Create a logo that visually identifies your company based on the criteria given in your design brief. The logo should be unique, appropriate within its market, easily identified and understood, PMS: Pantone Matching and memorable. The logo should represent a solid understanding of the visual and social meaning System. Pantone is a contained within the type and imagery used. company that supplies color formulas to printers Specifications to mix inks that are used as “spot” colors, i.e., inks n Logo must contain both type (logotype) and image (mark). The image can be integrated into that are used instead of or the text, or may be a separate entity that could be used both with the logotype and on its own. in addition to CMYK. n Create both color and b/w versions. You can use up to 3 PMS colors. Create the logo to be flexible. Think of the types of products and collateral that your company might produce and how the logo would look in different media and dimensions. Keep the graphic elements simple—reduce and refine. software tip n Must be vector-based (resolution independent). You can use Photoshop, but the layers In Illustrator, to find PMS must be vector (shape layers). You may also use hand lettering, but the art would need colors , look under Swatch to be traced/outlined in Illustrator. Libraries/Color Books and select the swatch book you Schedule want. Once you add a spot 1. Due 3/30—Create a minimum of 10 refined sketches. Start with research. Look at the color to your document’s competition. Go to related businesses, look closely at how they use their identity system: swatch palette, double-click variations, colors, scale, imagery. Check out design books at the library, especially letterhead on the color swatch. The and logo annuals from Graphis and Print. Look at the name—what does it mean? Start window shown below sketching out symbols and themes that come to mind. Avoid over-used symbols like arrows, should appear. Note that globes, swoops, etc. Sketches should be done in pencil or ink on paper. They may be done on Color Type reads “Process individual sheets or in your sketchbook. Draw out your text by hand, but use reference. Color” instead of “Spot.” Unless you are intentionally Scan and post your sketches in Moodle and bring originals/printouts to class for review. using a true spot color ink, 2. Due 4/6—Three proposals, in color and black and white. Take your three unique sketches make sure your colors are that are the most successful and create digital versions (vector). These three logos should look set to process, or that color as near to finish quality as possible, but the emphasis should be on refining your initial ideas will create a separate plate further and narrowing down to the most successful option. Post your proposals in Moodle and on output. bring originals/printouts to class for review. 2. Due 4/13—Final logo, in color and black and white, with business card, mounted on black board. Post final pdf in Moodle. Make sure “Global” is checked. Then, when you want to use a tint of the color, your color palette will look like:  | introduction to graphic design
  15. 15. 22-2330: INTRO TO GRAPHIC DESIGN Creative brief questions Company Name: What do they do Who are their customers/demographic How they want people to view their company List 3 adjective that would describe the new logo design How the logo will be used (print, web, t-shirts, signs, etc; functional requirements) Competitors (list three) List three reasons why the current logo needs to be updated
  16. 16. 22-2330: INTRO TO GRAPHIC DESIGN Project 4 Brochure Description tion on Millennium Park, ete schedule of free concerts call 312-742-1168, visit You have been chosen by the city to design a walking tour brochure of Millennium Park. The mpark.org or stop m Park Welcome Center, thwest Exelon Pavilion, purpose of the brochure is serve as both a functional map and attractive showcase/keepsake of treet. the Park’s more unique features. You will be given manuscript in a separate document that must be followed exactly; your challenge is to find a functional and creative solution within these guidelines. The brochure will be placed in dispensers in various locations throughout the park and used to guide tourists to the most popular features. Your design should be both original and look like it belongs with the other collateral located in the Park. The cover should be eye-catching with the text “Walking Tour” highly legible from several feet away. You will be provided with the standard park map to use to illustrate the tour, but you may also create your own version to complement your visual design and information system. The purpose of this project is to: Mayor ment of Cultural Affairs mmissioner tion on Chicago events and all toll free 1-877-Chicago www.877chicago.com. 1) gain experience with creating a multi-page brochures, creating a unified message and visual ffice of Tourism 2/06 QTY XXX City of Chicago Richard M. Daley, Mayor style through type, imagery, color, and layout; 2) gain experience working with provided copy, imagery, and general layout direction; need brochure inspiration? 3) experiment with layout strategies, balancing clarity of message with engaging graphics, and Go to the Visitor Information Center located at the North end 4) set professional-looking type with a clear hierarchy of style, using InDesign stylesheets. of the Chicago Cultural Center, Specifications at the corner of Michigan Ave and Randolph. n The project folder is being provided to you, and should be kept intact as-is. Within the folder “Text” is a document called “manuscript” that contains the instructions for the brochure. Any text in this document that is not contained in brackets or parentheses is live text, and must be used on the brochure. The photos included in the folder are optional: you may create your own graphics (including photos and illustrations) for the project. n There are three brochure templates in your project folder to choose from, or you may propose an alternate format to match your concept. n The layout should be done in InDesign, and you must use paragraph styles for any type styles used more than three times. Images should be placed at no less than 225ppi. If images are intended to bleed off of the page, the bleed should be no less than .25 in (1p6). Any images or text not intended to bleed off of the page should be at least .125 in from trim. 3 panel template n You may only use up to two typefaces. Select a typeface with a good variety of weights and widths such as Franklin Gothic, Trade Gothic, Avenir, Univers, Futura, Helvetica Neue, Myriad. Schedule 1. Due 3/02—Two rough layouts, digital. Layouts can be supported with pencil thumbnails to show working process and alternate ideas. The layouts do not need to be polished, but should 4 panel template be resolved enough to discuss direction. The two layouts should be unique approaches, not just a change in text and imagery. Review will be with instructor only. Post pdf in Moodle. 2. Due 3/09—First draft of final design. Print out and mock up your brochure for group crit, and post pdf in Moodle. 3. Due 3/16—Final design, printed and mounted on board. You are also encouraged to show a mocked-up brochure in your presentation. Post final pdf and Zipped InDesign file in Moodle (you do not need to package the fonts or images). Folder structure
  17. 17. 22-2330: intro to Graphic desiGn Project 4 Web page redesign description Your assignment is to revisit the non-profit you chose for your logo project and propose a redesign of their website (the homepage and one interior page). Your process will include defining the goals of the site, the primary users the site is intended to reach, the most important tasks/actions, reworking the site structure and navigation, and creating a proposal for an engaging and interactive visual design (based on your earlier identity work). The deliverables will be: — a site map (developed by team as a whole). Can be high-level and not polished—show your ideas for restructuring the amount and type of pages. Create logical groupings and flow. Use the group questionairre to define the site and its goals; base your decisions on these goals and desired user interactions. — wireframes of the home page and one interior page (your own work). Focus on the amount and type of content on the page, general layout arrangements & proportions, navigation labels and placement, and general functionality. Think sparse, leaving out the “look & feel” of the site. — PhotoShop (or Illustrator) mockups of the home & interior page. Be as thorough as possible, and be prepared to walk us through behaviors and site structure. schedule 1. Due 4/20—Wireframes of homepage and at least 1 interior page 2. Due 4/27—First draft of mockups (homepage and at least 1 interior page) 3. Due 5/4—Revised mockups 4. Due 5/12—Final design, printed Post all work in Moodle.

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