Intro to Graphic Design syllabus

22-2330: INTRODUCTION TO GRAPHIC DESIGN

SPRING 2010 | Tues 6:00 – 9:50 pm

INSTRUCTOR: Shawn Calvert [email protected]

Course Description

This course introduces students to graphic design as a form of visual communication through the use of type, image, form, and color. Projects explore design processes in two and three dimensions, visual identity and communication, thematic structure and hierarchy, creative problem solving, and basic design practice of critiques and discussion.

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.

last day to add a class

Saturday, Jan 30

last day to drop class

Saturday, Feb 6

last day to withdraw

Saturday, Mar 20

| introduction to graphic design

COURSE DETAILS

Text

(required) Dabner, David, Sheena Calvert, Anoki Casey. Graphic Design School, 4th ed. Wiley, 010. ISBN: 978-0-470-46651-3

Materials

n medium sized sketchbook (dedicated to this class)

n pencils, pens, watercolors, markers of choice

n black mounting board (purchase as needed)

n storage media of choice (firewire/USB 2.0 external, ipod, flashdrives)

Course Fee

Course fees are used to support special class materials and activities. A certain percentage of the course fee will be credited directly to your student card after the add/drop deadline. The course fee funds on your card are directly linked to this specific course and the balance will return to zero one week following the end of the semester.

Students with Disabilities Statement

Students with disabilities are requested to present their Columbia accommodation letters to their instructor at the beginning of the semester so that accommodations can be arranged in a timely manner by the College, the department or the faculty member, as appropriate. Students with disabilities who do not have accommodation letters should visit the Office of Services for Students with Disabilities (312-369-8134/V or 312-360-0767/TTY).

Academic Integrity

Academic integrity is one of the most cherished principles of the Columbia community. You must adhere to this principle: by understanding the nature of plagiarism and by not plagiarizing materials; by refraining from the use of unauthorized aids on tests and examinations; by turning in assignments which are products of your own efforts and

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.

ATTENDANCE & ABSENCES

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 absences. More than three absences is cause for failure. Here are some examples of the ways in which attendance connects with learning outcomes:

1 Students critique and evaluate each other’s work in class and it is essential for your progress and learning experience to be present to do so. Critiquing develops analytical skill and communication proficiency.

2 Students frequently collaborate on projects and in-class exercises, and learning these skills requires you to be present.

3 Participating in class discussions and critiques helps you develop skill in self-expression and verbal/rhetorical abilities

Tardiness and early departure will also be considered a 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 (or instructor dismissal), will equal an absence. While I appreciate being informed if you are arriving late or leaving early, the attendance mark is automatic nonetheless. Class will not dismiss earlier than 9:20, so if you leave before then, you will receive and early departure. Attendance will be recorded in Moodle after each class; it is the student’s responsibility to keep track of their attendance record.

EXPECTATIONS

To do well in this course, plan on an average of at least 6–8 hours of work per week outside of class. Project schedules are designed to give students time for critical and creative revisions; the drafts leading to the final version of a project should represent active experimentation, critical self-assessment, and personal commitment to the work.

Arrive at class on time, with your materials, your projects 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-related research.

You are expected to be an enthusiastic participant in this class and take ownership of your work and development as a creative professional. The function of critiques is not only to receive feedback on your work, but to build essential skills of presentation, negotiation, and persuasion.

introduction to graphic design | 3

GRADES

A project will be evaluated by the following criteria:

1 following instructions accurately and meeting deadlines,

2 appropriateness of solution to project design brief,

3 uniqueness of solution, demonstration of creativity and purposeful experimentation,

4 craftmanship and attention to detail, and

5 presentation.

There will be something due each week that will affect your grade. Deadlines are clearly noted in Moodle and/or project printouts. It is your responsiblity to keep track of when your work is due and to ensure that you are clear on expectations before starting your projects.

All grades and comments will be posted through Moodle.

Grade Breakdown

Four projects — 100pts each

Exercises — 10pts each

2 Quizzes — 50pts each

Self Evaluation — 100pts

GRADE DESCRIPTION GRADE AVG

A excellent 96-100 A- 91-95 B+ 88-90 B above average 84-87 B- 80-83 C+ 77-79 C average 73-76 C- 70-72 D below average 60-69 F failure below 60

FX failure for non-attendance P pass I Incomplete (not given) R course repeated W withdrawal

COURSEWORK

Each project will be provided with a detailed project sheet. Be sure to follow the instructions carefully. Reread the directions prior to handing in your projects. Failure to comply with these instructions will effect your grade.

We will critique work-in-progress as well as finished projects. Critiques are meant to develop skills of presentation and discussion and should be approached in a professional manner. The presentation of work is an essential part of the project as well as your development as a creative professional. Creating the work is only part of the process—you must be able to present your work as the right solution to the given design problem.

Unless instructed otherwise, work must be printed out to be accepted for review, class viewing or grading. If you wait until 10 minutes before class to print out your work and 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 Moodle for credit; if the work is analog (like a pencil sketch), it should be scanned or photographed and uploaded (image quality isn’t an issue).

Projects vs. Exercises

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. You will be given time to complete exercises in class.

Late Work

All work will be due at specific dates as outlined in the course schedule, and will be due at the beginning of class.

Exercises If you do not complete the work in-class or are absent, then exercises must be submitted in Moodle before the beginning of the next class (i.e., within one week). Late exercises will not be accepted for credit (not negotiable).

Project drafts/work-in-progress All in-progress project work must be turned in on the date specified. Missed work will count a full letter off the final project grade. All in-progress work is posted in Moodle, so class attendance is not required to the ability to turn in work.

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.

SOFTWARE TRAINING

Design Lab is required to be taken prior to Introduction to Graphic Design, so a certain amount of familiarity with the software used in class is expected.

Please note that while there will be some software tutorials covered in this class, it is not the primary focus. If you lack the basic skill levels for Adobe CS (InDesign, Illustrator and Photoshop) tutors can be scheduled through the Graphics Lab on the 9th Floor, 623 South Wabash Street or tutorials CDs can be taken out on loan.

CLASS NEWS AND UPDATES

I will be contacting you via email (through the Moodle News Forum) with reminders, changes or any other pertinent information. Please check your email at least 24hrs before class or more often. It is your responsibility to manage your mailbox so that lines of communication are open and available.

I will also be posting up-to-date project handouts, presentation pdfs, and the syllabus/calendar with any updates on Moodle. If you misplace your project handouts you will find them on Moodle for the duration of the project.

CONTACTING THE INSTRUCTOR

The best way to contact me is through email; I will get back to you within the day. Please note that I only check my Columbia email after 6pm on weekdays. If the issue is an emergency, please call my cell phone. I am only on campus during class hours, but will be available for student meetings during breaks or after class.

RECOMMENDED READING

Bierut, Micheal, et al. Looking Closer (series). Allsworth Press.

Bringhurst, Robert. The Elements of Typographic Style. Hartley and Marks Publishers, 2004.

Communication Arts (magazine)

Cullen, Kristen. Layout Workbook. Rockport, 2007.

designobserver.com

Dot Dot Dot (magazine)

Elam, Kimberly. Grid Systems. Princeton Architectural Press, 2004.

Felici, James. The Complete Manual of Typography. Adobe Press, 2002.

French, Nigel. InDesign Type: Professional Typography with Adobe InDesign CS2. Adobe Press, 2006.

Friedl, Fredrich. Typography. Black Dog and Leventhal Publishers, 1998.

Heller, Steven. The Anatomy of Design. Rockport, 2007.

Heller, Steven and Teresa Fernandez. Becoming a Graphic Designer. Wiley, 2005.

Hochuli, Jost and Robin Kinross. Designing Books: Practice and Theory. Hyphen, 2004.

How (magazine)

Lidwell, William. Universal Principles of Design. Rockport, 2003.

Lupton, Ellen. Thinking with Type. Princeton Architectural Press, 2004.

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


MOODLE

Moodle is a new learning management system (LMS) at Columbia that is available as an alternative to Oasis. To enter the Moodle site, go to moodle.colum.edu, log in with 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 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.

After your work is posted, you have a 30 minute grace period to delete or edit the posteing (unless you check “email now” – we will walk through this in class). After your work is up, you can comment on class postings by clicking “reply” at the bottom of an entry.

12

3

4

3


3 Assignments

Wherever you see the assignment icon , that is a location where something needs to be turned in (uploaded through Moodle). Assignment icons appear in the week that the particular project or exercise is due. At the bottom of the project page is an area to upload and submit your 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.

4 Resources

Resource entries include project information pages, pdf downloads, presentations, and web links.

Project information pages will contain a pdf of the project sheet provided in class, project files, student work samples, and additional resources related to the project.


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


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


Exercise 5

for next week

Project 2 brochure revisions

Reading GDS Unit 5

3/ Image


Exercise 6

for next week


Reading GDS Unit 6

3/9 Production Issues


Exercise 7

for next week


Reading handouts (posted in Moodle)


3/16 Sign, Symbol, Logo


Quiz 1

for next week

Project 3 logo roughs

Reading handouts

3/3 NO CLASS

3/30 Intro to Branding

Project 3 in-progress critExercise 8

for next week

Project 3 logo revisions

Reading handouts

4/6 Type as Image


Exercise 9

for next week

Project 3 logo final

Reading review Des El chapter 3

4/13 Intro to Web Design


for next week

Project 4 sitemap, wireframes

Reading GDS Unit 6

4/0 Web Design Process


for next week

Project 4 revised sitemap, first visual designs

Reading handouts

4/7 HTML & CSS


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 finalQuiz 2

22-2330: INTRO TO GRAPHIC DESIGN

Project 1 Festival Poster

Description

Create a poster design to promote a classical music festival. There will be three groups, each with a different composer. Your design should reflect an understanding of the historical context of the music, represented in both type choice and graphic imagery. Your work can appropriate historical styles, or may take a more contemporary vision of the composer’s work. Your work 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

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 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.

A poster should tell its story at once—a design

that needs study is not a poster, no matter how

well it is executed.

Edward Penfield

A

B

C


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?

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

GROUP

1




[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/

GROUP

2




[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

GROUP

3

| introduction to graphic design


Project 3 Logo & Business Card

Description

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, and memorable. The logo should represent a solid understanding of the visual and social meaning contained within the type and imagery used.

Specifications

n Logo must contain both type (logotype) and image (mark). The image can be integrated into the text, or may be a separate entity that could be used both with the logotype and on its own.

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.

n Must be vector-based (resolution independent). You can use Photoshop, but the layers must be vector (shape layers). You may also use hand lettering, but the art would need to be traced/outlined in Illustrator.

Schedule

1. Due 3/30—Create a minimum of 10 refined sketches. Start with research. Look at the competition. Go to related businesses, look closely at how they use their identity system: variations, colors, scale, imagery. Check out design books at the library, especially letterhead and logo annuals from Graphis and Print. Look at the name—what does it mean? Start sketching out symbols and themes that come to mind. Avoid over-used symbols like arrows, globes, swoops, etc. Sketches should be done in pencil or ink on paper. They may be done on individual sheets or in your sketchbook. Draw out your text by hand, but use reference.

Scan and post your sketches in Moodle and bring originals/printouts to class for review.

2. Due 4/6—Three proposals, in color and black and white. Take your three unique sketches that are the most successful and create digital versions (vector). These three logos should look as near to finish quality as possible, but the emphasis should be on refining your initial ideas further and narrowing down to the most successful option. Post your proposals in Moodle and 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.

definitions

PMS: Pantone Matching

System. Pantone is a

company that supplies

color formulas to printers

to mix inks that are used

as “spot” colors, i.e., inks

that are used instead of or

in addition to CMYK.

software tip

In Illustrator, to find PMS

colors , look under Swatch

Libraries/Color Books and

select the swatch book you

want. Once you add a spot

color to your document’s

swatch palette, double-click

on the color swatch. The

window shown below

should appear. Note that

Color Type reads “Process

Color” instead of “Spot.”

Unless you are intentionally

using a true spot color ink,

make sure your colors are

set to process, or that color

will create a separate plate

on output.

Make sure “Global” is

checked. Then, when you

want to use a tint of the

color, your color palette will

look like:


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


Project 4 Brochure

Description

You have been chosen by the city to design a walking tour brochure of Millennium Park. The purpose of the brochure is serve as both a functional map and attractive showcase/keepsake of 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:

1) gain experience with creating a multi-page brochures, creating a unified message and visual style through type, imagery, color, and layout;

2) gain experience working with provided copy, imagery, and general layout direction;

3) experiment with layout strategies, balancing clarity of message with engaging graphics, and

4) set professional-looking type with a clear hierarchy of style, using InDesign stylesheets.

Specifications

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.

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 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).

Sponsored by the Chicago Office of Tourism 2/06 QTY XXX

For more information on Chicago events and activities, please call toll free 1-877-Chicago (244-2246) or visit www.877chicago.com.

City of ChicagoRichard M. Daley, Mayor

City of ChicagoRichard M. Daley, Mayor

Chicago Department of Cultural AffairsLois Weisberg, Commissioner

Sponsored by the Chicago Office of Tourism 2/06 QTY XXX

For more information on Millennium Park, including a complete schedule of free concerts and events please call 312-742-1168, visit www.millenniumpark.org or stop by the Millennium Park Welcome Center,located in the Northwest Exelon Pavilion,201 E. Randolph Street.

need brochure inspiration?

Go to the Visitor Information Center located at the North end of the Chicago Cultural Center,

at the corner of Michigan Ave and Randolph.

Folder structure

3 panel template

4 panel template


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.

Education

Intro to Graphic Design syllabus