ART 125 - INTRODUCTION TO COMPUTER IMAGERY FALL 2008

Designers,
Please join a few of these message boards that are devoted to the discussion of graphic design, and invite the members to visit your blogs to offer their criticisms on your work. Each community has a section that is centered around critiques. The first three are outstanding and very resourceful!

http://www.allgraphicdesign.com/phpBB2/

http://www.yourdesignforums.com/graphic-design-critiques/

http://forum.howdesign.com/tm.aspx?m=265996

http://www.estetica-design-forum.com/graphic-design-web-design-critique/

http://www.designerstalk.com/forums/logo-brand-identity/

http://groups.myspace.com/index.cfm?fuseaction=groups.groupProfile&groupID=100001819&Mytoken=CD3493AE-E6BC-4EFA-B432FC5DC3D0DA73180514936

https://www.dpchallenge.com/forum.php?action=read&FORUM_THREAD_ID=841678

Art 125- Introduction to Computer Imagery

PACKAGE DESIGN

“ Package Design to contain a hypothetical product that

will remove carbon from the earth’s atmosphere.

Graphic Design is a form of visual communication that requires the designer to create graphic media that serves various purposes. On a daily basis we are bombarded by an array of products that we both consume and use—from cereal to toothpaste, all the way to skin cream and soap. These products require visually compelling packaging designs that are persuasive in their marketing. Your assignment is to design a visually compelling package to house a fictitious product that removes carbon from the earth’s atmosphere.

Elements

1. Product Concept Develop a Product Concept!

2. Name Invent both a product and company name!

3. Logo Create a Logo

4. Package Form Decide On the Form of the Package. Will it be rectangular,

cubicle, cylindrical, or another form? You may decide to construct your form through gluing together foam board or wood, transforming an existing product package.

5. Color Scheme Develop a color scheme. What colors express the product

essence and are eye catching?

6. Ingredients Create a list of hypothetical ingrediance.

7. Central Image Develop a graphic or use digital imagery as a

backdrop or visual focus for the design.

8. Exploratory

Studies Create 5-10 first round, and 5-10 second round thumbnails, along with one rough.

8. Comprehensive Design each side of the package in Photoshop, then print and attach with rubber cement glue or similar.

Package Design Must Contain

· Logo / Name

· Color Scheme

· Ingredients Listing

· Company Address / web site / phone number

· UPC Barcode

· Central Image

· Other Information that may be pertinent to the specific concept / audience / etc.

· Dimensions – No side of the package should be larger than 11”x17”.

Art 125—Introduction to Computer Imagery

Professor Groat

POSTER DESIGN

COMMUNICATING THE SUSTAINABLE IDEAL

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A poster is any piece of printed paper designed to be attached to a wall or vertical surface. Typically posters include both textual and graphic elements, although a poster may be either wholly graphical or wholly textual. Posters are designed to be both eye-catching and convey information. Posters may be used for many purposes, and they are a frequent tool of advertisers (particularly of events, musicians and films), propagandists, protestors and other groups trying to communicate a message. Posters are also used for reproductions of artwork, particularly famous works. Another type of poster are educational posters, which may be about a particular subject for educational purposes. Related to these are academic or conference are generally low-cost compared to original artwork. Many people also collect posters, and some famous posters have themselves become quite valuable, collectors and vintage posters are usually framed and matted. Posters may be any size.

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Your assignment is to design a poster for a hypothetical not-for-profit organization advocating sustainability. Therefore, you will need to invent both a name and logo design for your organization, and include them within the poster design.

Visual Communication Objective:

The objective of the designs is to elicit discussion regarding the critical nature of the sustainable movement in order to inspire people to embrace the ideal.

Design Specifications—“The Project Criteria!”

The Designs must:

Language Options: English, French, Spanish, German
Design must be on an 11x17” format, or larger.
Must include color
The poster design may include both hand-rendered illustration and digital imagery.

Classical Design Principles

Primary Principles: Unity, Variety, Hierarchy, Proportion

Support Principles: Scale, Balance, Rhythm, Repetition, Proximity

Elements of Art & Design

Shape, Space, Point, Line, Size, Color, Texture, Typography

What’s required for each design:

First Round Thumbnails: 10 (ten)
Second Round Thumbnails: 10 (ten)
Rough 11x8.5”
Be mounted on black foam board with a 3-inch boarder.
Second round thumbnails, rough and final comp must be scanned and uploaded to your own blog.
Comprehensive must be placed on blog!

Graded on

How well you address the needs of the project!
Completing the evaluation form, and including all of that you have written, directly below the comprehensive on your blog!

Hall Groat II, Art 125
Stamp Design
Commemorating Historic Preservation of
Architecture and Sustainability

You are to create one unique stamp design that commemorates a notable local or regional historic landmark building. Your stamp design must be based on a design style from the past. The objective is to present to the American public the concepts of historic preservation and sustainability, and ultimately inspire them to perhaps embrace these ideals.

Design Styles from the Past!
Art Nouveau (Late 19th Century to Early 20th Century)
Bauhaus (1920’s)
Constructivism (Russian 1913-1920's)
Art Deco (1920-1930)
International Typographic Style (Swiss School of Design 1950-1970)
Modernism / Modern Movement/New York School (United States 1940’s – 1960’s)

Creative Process

1. Collect (20) twenty or more examples of stamp designs that are visually engaging. Create a digital archive of these saved on your flash disk. Place examples on your blog!

2. Choose your (3) three favorite designs. Make a descriptive list (in bullet form) referencing the specific “informational elements” and “design elements” that are contained within the three collected stamps (lists are below).
Place analysis on your blog!

3. Collect five (5) graphic design examples of each of the historic design movements outlined above.

4. Choose (1) example from each style and make a descriptive list (in bullet form) referencing the specific design characteristics that make each style unique.
Place analysis on your blog!

5. Photograph a local landmark building to base your design on.

6. Create an Illustration of Local Historic Landmark. The illustration can either be hand rendered in a traditional color medium of your choice or a digital manipulated rendition.

7. First Round Thumbnail Sketches. Work on 20 thumbnail sketches that investigate design concepts for your stamp design.

8. Chose strongest thumbnail concept and complete 20 more second round thumbnail sketches that present variations on a single one.

9. Create a single rough based on the strongest concept
The rough needs to be at least five inches in height and width. The final dimensions will depend on if you have chosen to design on a square or rectangular format.

10. Digital Scan of Illustration in Photoshop

11. Photoshop digital manipulation and enhancement

12. Comprehensive Layout in Photoshop

13. Mounting Two Parts: Original Illustration and Stamp Design

14. The entire creative process must be included on your blog, including all thumbnails, along with final rough and comprehensive.

Informational Elements
§ Central Image – Your illustration
§ Denomination (Example: 37 cents, $1)
§ Country of Origin (Example: USA)
§ Name of Landmark
§ Date Landmark was built
§ Date (year) Stamp was Designed (The year “2005” typeset in 7 or 8 points)
§ Significance (A short phrase relating to the significance of the landmark is often noted.)

Design Elements
Ask yourself “How were these concepts applied?”

§ Shape of Postage Stamp / Proportion of Stamp / Horizontal or vertical
§ Four Color / Spot Color/ Colors Used Develop a color scheme. What colors conceptually relate to the landmark and design style you work with
§ Type of Central Image / The Illustration
§ Line Detailing / Borders
§ Interpretive Dimension of Type /Type supports the aesthetic of the artwork/theme
§ Typographical Layout Vertical Type, Horizontal Type, Type on a curve
§ Hierarchical arrangement of elements (Most to least important—Focal Point)
§ Position (proximity) of all informational elements / Symmetrical/Asymmetrical
§ Compositional Devices / Use of Grid
§ Type of Balance Symmetrical or Asymmetrical
§ Illusion of Space / Depth
§ Relationship of Positive and Negative Space

Physical Dimensions
Illustration: 8.5” by 11” or 8.5 by 8.5”
Final Comp: One (1) printed at 5 x 8” and One (1) printed the actual size of a stamp (which will vary) (For example, a rectangular stamp may measure 1.5” x 1” and a square 7/8” x 7/8”)
Spend some time measuring some actual stamps and choose a dimension that is conducive to your design.

Presentation
Single Illustration mounted on one section of foam core (unless it was painted on canvas)
Comp must also be mounted on one section of foam core.

Production Information & Design Description
This information needs to be presented on a separate section of foam core. The dimensions must be 2 inches tall by 4 inches wide. The type size must be 9 points.
· Your name / Name of Design
· Name of Software Used / Date
· Paragraph specifically describing how your stamp design
relates to the chosen style or styles of architecture, or graphic design movement.

Graphic Concepts To Consider For Dynamic Designs
· Contrasting Scale of Images
· Contrasting Scale of Type
· Typographical Variation:
Upper Case / Lower Case
Weight of Text / Bold / Italic
Varied Letter Spacing
· Considering the amount of Negative Space left in design
· Clustering of Text Into Units Based On Content
· Nesting Text
· Overlapping of Images and Text To Create Unity
· Typographical Harmony – Family of Font, Style of Font
· Altering Opacity To Create Sense of Depth and Emphasis In Design
· Color Harmony – Relationship of Text Color with Image Color

Graded on
§ How well you address the needs of the project!
§ Completing the evaluation form, and including all of that you have written, directly below the comprehensive on your blog!

Preservation Association of the Southern Tier
2005--Seeks to save our landmarks and cultural heritage by promoting and protecting places of historic, architectural and cultural significance through education and advocacy.
Address Decker Arts & Cultural CenterBinghamton, NY13905
Phone (607)723-4620 Fax: 607-723-2232
Contact John Lewis, Executive Director
Email PAST@stny.rr.com

Resources
United States Postal Service
USPS—commemorative stamps
http://www.usps.com/communications/organization/csac.htm

United States Postal Museum
http://www.postalmuseum.si.edu/

History
http://www.usps.com/history/anrpt04/stamps.htm
http://en.wikipedia.org/wiki/Postage_stamp#History

Folks,
Please take a look at the links below on how to use:

www.blogger.com

Written Directions with Graphics –step-by-step:

http://www.slideshare.net/Marcus9000/how-to-use-blogger

Step-By-Step video demonstrations on blogger.com:
http://www.youtube.com/watch?v=vs5tfoe-dCA

http://revver.com/video/90882/learn-to-blog-on-blogger-step-by-step/

VISUAL COMMUNICATION HISTORY,

INTERVIEWS WITH NOTABLE DESIGNERS & WEB ADDRESSES

PROFESSOR GROAT

Overview of Graphic Design History:

http://www.youtube.com/watch?v=ENVWYDxkuAY

http://www.youtube.com/watch?v=t5m58XxFrxk

http://www.designhistory.org/

Interview with Steve Jobs, Apple CEO, on Paul Rand:

http://www.youtube.com/watch?v=xb8idEf-Iak&feature=related

Paul Rand

http://www.paul-rand.com/

Portfolio of Work:
http://www.paul-rand.com/gallery.shtml

Interview with Paul Rand:

http://www.paul-rand.com/video_miggsInterview_1991.shtml

Milton Glaser

http://www.miltonglaser.com/

http://www.youtube.com/watch?v=Ca3SxrD9hW0

http://www.youtube.com/watch?v=1fDiFxcCHVc&feature=related

http://www.miltonglaser.com/pages/milton/mg_index.html

Neville Brody

http://www.researchstudios.com/home/006-neville-brody/NEVILLE_home.php

Erik Spiekermann

http://spiekermannpartners.com/en

Gert Dumbar
http://www.studiodumbar.com/main.php

Tibor Kalman
http://en.wikipedia.org/wiki/Tibor_Kalman

dj stout

http://pentagram.com/en/partners/dj-stout.php

David Carson

www.davidcarson.com

http://www.davidcarson.com/design/print.html

April Greiman

http://www.madeinspace.la/home/

The Art Director's Club

http://www.adcglobal.org/archive/hof/

DESIGN HISTORY LINKS

http://www.youtube.com/watch?v=b0VPVbFY4Kg

http://www.youtube.com/watch?v=xb8idEf-Iak&feature=related

http://www.youtube.com/watch?v=34wF3u5C1U4

http://www.designhistory.org/weblinks.html

http://www.mkgraphic.com/basic.html

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

Art Nouveau Design

http://www.youtube.com/watch?v=-8PgPvVQcSo

Timeline :: for Graphic Design History

A. Beginning of the Industrial Design: Great Britian and Germany
1820 - Industrial Revolution :: early 19th century; patternmaker = designer
1849 - Journal of Design - by Henry Cole; design should encompass more than applied ornament; knowledge of manufacturing processes and materials.
1851 - Great Exhibition - decorative extravagance of Victorian design - Crystal Palace
1860 - Arts and Crafts Movement - John Ruskin, William Morris, Gustav Stickley, thought machine production degrading to both workers and consumers.
1903 - Wiener Werkstatle - Viennese group; similar to Arts and Crafts Movement.
1901 - Frank Lloyd Wright - 'The Art and Craft of the Machine'; basic principles of modern industrial design; future designers create prototypes for machine production.
1907 - Deutscher Werkbund - Hermann Muthesius...
1910 - AEG (German General Electric); Peter Behrens, denounce Art Nouveau for a spare abstract neoclassicism; products, lighting fixtures, fans, advertising, graphics, and the firm's overall 'corporate image'.
1919 - Bauhaus - Walter Gropius, union of art and industry; other figures: Herbert Bayer, Marcel Breuer, Ludwig Mies van der Rohe, Laszio Moholy-Nagy, and Wilhelm Wagenfeld- [1933 - disbanded by Nazi]

B. Design Profession: USA
1929 - US comsumer society emerges: commercial artist, advertising, illustrators
1940 - Design business practice common; independent consultants
1939 - New York World's Fair - visual coherence and social harmony; Utopian dream

C. Postwar Europe
1944 - Council of Industrial Design; stifled creativity
1947 - Swiss design: Armin Hofmann, Emil Ruder, Kunstgewerbeschule Basel
1960 - Pop art; Pentagram Design: Colin Forbes, Theo Crosby
1953 - Bauhaus tradition to Hochschule für Gestaltung at Uml. Max Bill and Tomas Maldonado; Dieter Rams at Braun AG.
1960 - Scandinavian designer: Alvar Aalto
1961 - Italian designer: Ettore Sottsass, Memphis group
1968 - Post-Modernism: Wolfgang Weingart, Steff Geissbuhler, Odermatt & Tissi

D. Comtemporary American Graphic Design
1950 - MOMA, promote good design, refugees Gropius, Mies, Breuer; New Bauhaus, Chicago, ID-IIT; Yale University: Alvin Eisenman, Paul Rand, Herbert Matter, Norman Ives
1960 - The New York School: Paul Rand, Alexey Brodovich, Henry Wolf, Herb Lubalin, George Lois
1970 - Corporate graphics: Olivetti, CBS, CIBA, IBM, Chase, Mobil, Mexico Olympic
1979 - New Wave: April Greiman, Kenneth Hiebert, Paula Scher
1980 - Micro processor (1984 - Apple Computer, MacWrite, MacPaint)
1993 - Internet: Mosiac -> Netscape

The blog at the link below is a work in progress, and is an evolving archive of some of the strongest photoshop video tutorials on the Internet.

http://www.photoshopinstruction.blogspot.com

Art 125—Introduction to Computer Imagery

Professor Groat

COMMUNICATING THE SUSTAINABLE IDEAL

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Design is the method of putting form and content together. Design, just as art, has multiple

definitions; there is no single definition. Design can be art. Design can be aesthetics. Design

is so simple, that's why it is so complicated. –Paul Rand, American Designer 1914-1996

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Your assignment is to research sustainability on an international scale. After you have completed your research, design two typographical artworks, involving only type, which are intended to elicit discussion relating to the critical nature of this current issue. One design must be based on bilateral symmetry and the other must be asymmetrical in form. The artworks will be circulated via world-wide-web for millions of people to respond to. There may be some of you who believe that this movement is less critical than others and perceive it as merely sociopolitical propaganda, and perhaps would like to express your

perspective differently. You are the fine artist; therefore you are free to express your unique viewpoint! However, the “forms” of your designs must meet specific criteria that conform to what’s been deemed as successful visual communication.

Visual Communication Objective:

The objective of the designs is to elicit (or provoke) global discussion regarding the critical nature of the sustainable movement, through using both the Internet and traditional print media. The designs should entice the viewer to consider both the social significances and unique relationships between the five concepts.

Design Specifications—“The Project Criteria!”:

The Designs must:

Be created within a square format – 8.5”x 8.5”
Include five (5) words or unique concepts.
Be based on a single, or two different themes, meaning, the symmetrical design can include the exact same words or concepts that the asymmetrical design contains.
Be created using only grayscale.
Implement all classical design principles.
Be created using the “rule of thirds.”

Classical Design Principles

Primary Principles: Unity, Variety, Hierarchy, Proportion

Support Principles: Scale, Balance, Rhythm, Repetition, Proximity

Elements of Art & Design

Shape, Space, Point, Line, Size, Color, Texture, Typography

What’s required for each design:

First Round Thumbnails: 10 (ten) 2 inch by 2 inch thumbnails.
Second Round Thumbnails: 10 (ten) 2 inch by 2 inch thumbnails.
4”x4” Rough, created using black marker.
8.5”x 8.5” comprehensive
Be mounted on black foam board with a 3 inch boarder.
Second round thumbnails, rough and final comp must be scanned and uploaded to your own blog.
Comprehensive must be placed on course blog!

Graded on

How well you address the needs of the project!
Completing the evaluation form, and including all of that you have written, directly below the comprehensive on your blog!

Introduction To Computer Imagery

Art/Com 125

Professor Hall Groat | Fall 2008

Meeting Times and Days

Monday & Wednesday – 2-3:50

Location: AT 217

OFFICE HOURS:

Monday & Wednesdays 12:30-2PM

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 CS2 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 25 Introduction / Course Overview / Requirements / Biographies / Course Supplies

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August 27 Project #1

Typographical Design – “Sustainability”

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September 1 No School—Labor Day

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September 3 Project #1