Request for New Course
EASTERN MICHIGAN UNIVERSITY
DIVISION OF ACADEMIC AFFAIRS
REQUEST FOR NEW COURSE
DEPARTMENT/SCHOOL: ______ART_______________________________COLLEGE:
ARTS AND SCIENCE
CONTACT PERSON: ____ANDREW MANIOTES______________________________________________________________________
CONTACT PHONE:
734-218-3445
CONTACT EMAIL:
AMANIOTES@EMICH.EDU
REQUESTED START DATE: TERM__FALL___________YEAR___2015________
A. Rationale/Justification for the Course
This course has been offered as a special topics elective for most summers since 2006. This course will permit students who receive
greater exposure to poster design a chance to develop a more extensive body of work, including working within a poster series. Many
current design students desire to learn screen printing or go beyond the brief exposure they might receive in an intermediate graphic
design class. In addition to screen printing, students will learn other forms of poster making, including digital production and output,
and stenciling.
B. Course Information
1. Subject Code and Course Number:
2. Course Title:
Poster Design
3. Credit Hours:
3
4. Repeatable for Credit? Yes__x_____
ARTS 354
No______
If “Yes”, how many total credits may be earned?___3____
5. Catalog Description (Limit to approximately 50 words.):
This is a graphic design course focusing on the making of posters as a visual communications vehicle. Students will become familiar with
poster making processes including screen printing, spray paint stencils, and digital output. Emphasis will be placed on typography, scaling,
production techniques, and other design principles relating to posters.
6. Method of Delivery (Check all that apply.)
a. Standard (lecture/lab) x
On Campus
x
Off Campus
b. Fully Online
c. Hybrid/ Web Enhanced
7. Grading Mode:
Normal (A-E)
x
Credit/No Credit
8. Prerequisites: Courses that MUST be completed before a student can take this course. (List by Subject Code, Number and Title.)
ARTS 250 Introduction to Graphic Design I
9. Concurrent Prerequisites:
Code, Number and Title.)
Miller, New Course
Sept. 09
or ARTS 210 Screen Printing I
Courses listed in #5 that MAY also be taken at the same time as a student is taking this course. (List by Subject
New Course Form
10. Corequisites: Courses that MUST be taken at the same time as a student in taking this course.
(List by Subject Code, Number and
Title.)
11. Equivalent Courses. A student may not earn credit for both a course and its equivalent. A course will count as a repeat if an equivalent
course has already been taken. (List by Subject Code, Number and Title)
12. Course Restrictions:
a. Restriction by College. Is admission to a specific College Required?
College of Business
Yes
No
x
College of Education
Yes
No
x
b. Restriction by Major/Program. Will only students in certain majors/programs be allowed to take this course?
Yes
No
If “Yes”, list the majors/programs
c. Restriction by Class Level Check all those who will be allowed to take the course:
Undergraduate
Graduate
All undergraduates_______
All graduate students____
Freshperson
Certificate
Sophomore
x
Masters
x
Junior
x
Specialist
Senior
x
Doctoral
Second Bachelor__x______
UG Degree Pending_____
Post-Bac. Tchr. Cert._x____
Low GPA Admit_______
Note: If this is a 400-level course to be offered for graduate credit, attach Approval Form for 400-level Course for Graduate
Credit. Only “Approved for Graduate Credit” undergraduate courses may be included on graduate programs of study.
Note: Only 500-level graduate courses can be taken by undergraduate students. Undergraduate students may not register for
600-level courses
d. Restriction by Permission. Will Departmental Permission be required?
Yes
x
No
(Note: Department permission requires the department to enter authorization for every student registering.)
13. Will the course be offered as part of the General Education Program?
Miller, New Course
Sept. ‘09
Yes
No
x
Page 2 of 4
New Course Form
If “Yes”, attach Request for Inclusion of a Course in the General Education Program: Education for Participation in the Global Community
form. Note: All new courses proposed for inclusion in this program will be reviewed by the General Education Advisory Committee. If this
course is NOT approved for inclusion in the General Education program, will it still be offered? Yes
No
C. Relationship to Existing Courses
Within the Department:
14. Will this course will be a requirement or restricted elective in any existing program(s)? Yes
No
x
If “Yes”, list the programs and attach a copy of the programs that clearly shows the place the new course will have in the curriculum.
Program
Required
Restricted Elective
Program
Required
Restricted Elective
15. Will this course replace an existing course? Yes
No
x
16. (Complete only if the answer to #15 is “Yes.”)
a. Subject Code, Number and Title of course to be replaced:
b. Will the course to be replaced be deleted?
Yes
No
17. (Complete only if the answer #16b is “Yes.”) If the replaced course is to be deleted, it is not necessary to submit a Request for
Graduate and Undergraduate Course Deletion.
a. When is the last time it will be offered?
Term
Year
b. Is the course to be deleted required by programs in other departments?
Contact the Course and Program Development Office if necessary.
Yes
No
c. If “Yes”, do the affected departments support this change?
Yes
No
If “Yes”, attach letters of support. If “No”, attach letters from the affected department explaining the lack of support, if available.
Outside the Department: The following information must be provided. Contact the Course and Program Development office for
assistance if necessary.
18. Are there similar courses offered in other University Departments?
If “Yes”, list courses by Subject Code, Number and Title
Yes
No
x
19. If similar courses exist, do the departments in which they are offered support the proposed course?
Yes
No
If “Yes”, attach letters of support from the affected departments. If “No”, attach letters from the affected department explaining the lack of
support, if available.
D. Course Requirements
20. Attach a detailed Sample Course Syllabus including:
a.
Miller, New Course
Sept. ‘09
Course goals, objectives and/or student learning outcomes
Page 3 of 4
New Course Form
b.
c.
d.
e.
f.
g.
h.
Outline of the content to be covered
Student assignments including presentations, research papers, exams, etc.
Method of evaluation
Grading scale (if a graduate course, include graduate grading scale)
Special requirements
Bibliography, supplemental reading list
Other pertinent information.
NOTE: COURSES BEING PROPOSED FOR INCLUSION IN THE EDUCATION FOR PARTICIPATION IN THE GLOBAL
COMMUNITY PROGRAM MUST USE THE SYLLABUS TEMPLATE PROVIDED BY THE GENERAL EDUCATION
ADVISORY COMMITTEE. THE TEMPLATE IS ATTACHED TO THE REQUEST FOR INCLUSION OF A COURSE IN THE
GENERAL EDUCATION PROGRAM: EDUCATION FOR PARTICIPATION IN THE GLOBAL COMMUNITY FORM.
E. Cost Analysis (Complete only if the course will require additional University resources.
Fill in Estimated Resources for the
sponsoring department(s). Attach separate estimates for other affected departments.)
Estimated Resources:
Year One
Year Two
Year Three
Faculty / Staff
$_________
$_________
$_________
SS&M
$_________
$_________
$_________
Equipment
$_________
$_________
$_________
Total
$_________
$_________
$_________
F. Action of the Department/School and College
1. Department/School
Vote of faculty: For _____20_____
Against _____0_____
Abstentions ___0_______
(Enter the number of votes cast in each category.)
01/14/15
Date
Department Head/School Director Signature
2. College/Graduate School
A. College
College Dean Signature
Date
B. Graduate School (if Graduate Course)
Graduate Dean Signature
Date
G. Approval
Associate Vice-President for Academic Programming Signature
Miller, New Course
Sept. ‘09
Date
Page 4 of 4
ARTS
354
SYLLABUS SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
DESCRIPTION:
This is a graphic design course focusing on the design and making of posters as a visual communications vehicle. Students will be
introduced to relevant production processes; this may include such techniques as screen printing, stenciling, and digital output..
Emphasis will be placed on typography, scaling, production techniques, and other design principles relating to posters.
OBJECTIVES:
Students will produce a body of poster work for this class. There will be technical demonstrations for the projects. There will also be
various research components for the subject matter that may involve writing and presentation of findings. By the end of the semester,
students should expect to:
1. Learn poster production methods. This will include digital production, screen printing, spray stencils, & digital output.
2. Learn conceptual integration of typography and imagery as it relates to poster formats.
3. Learn to communicate with large scale elements on a poster.
4. Sharpen critical discussion and critique methods.
5. Develop a multiple series of posters about the same subject for the final project.
PREREQUISITES:
Passing grade in Arts 250 or Arts 210. Students must the professor if they do not have at least one of these prerequisites.
CLASS STRUCTURE:
ASSIGNMENTS: Project sheets will be given to students that contain the assignment objectives, parameters, and due dates. Students
are to conduct research and findings outside of class. Typically, students will be asked to show research via sketches, writing, or possibly a presentation as dictated by the project sheets. There will also be one on one discussions with the instructor about the initial
project concepts and directions.
SKETCHES: Students will be expected to make sketches to develop an idea based on subject matter. If the instructor asks for a certain
amount, a student must develop that number for the one topic. Example: if the assignment is to come up with 20 sketches for a poster
about a country, a student should do 20 sketches for say “the Netherlands.” A student feeling indecisive should not think they can draw
10 sketches for Holland, 5 for Spain, and 5 for Japan. Students are expected to be able to make creative decisions to develop them. If the
student feels indecisive and insists on multiple subjects, the student should do the full number of sketch for each. Using the example, the
student would draw 20 sketches for Spain, 20 sketches for Holland, and 20 sketches for Japan.
Students are also expected to have a variety of ideas in their sketches. One should not do 20 sketches of all windmills for “the Netherlands”
example. For developing ideas, one sketch might feature a windmill, another sketch could display a herring, and yet another sketch might
showcase a red light district.
DEMOS & LECTURES: As needed, students will experience technical demonstrations and format lectures. The demonstrations range
from digital production to hands on image making and printing. These will be crucial for completing the projects. Note taking is encouraged. The lectures will focus on design, poster history, and the nature of various project formats specified on the assignment sheets.
The class will also see work examples in the form of digital imagery, web pages, as well as samplings of the instructor’s collection of
posters. This will enable you to students to view posters at their intended scale and designated print process.
WORK DAYS: Students will be given appropriate work days. As a studio intensive class, students should make use of the class
resources- the instructor, peers, studio equipment, etc. In addition to in class work days, students are expected to work outside of class
as well.
CRITIQUES, DEADLINES, & PARTICIPATION: Critique is a detailed analysis and assessment of the work produced. This instructor prefers
group critiques so the entire class can share experiences and ideas to learn as a community. What is said about one student’s work might
directly effect someone else. Critique will also be a part of each students’ grade. Critiques and discussions helps the entire class grow. How
one presents their work is important as this prepares designers for client interaction in the future. These endeavours will help students
develop critical thoughts and ideas by learning how to express them.
During critique, students should come prepared with a notebook. When the class is critiquing a student work, the student being critiqued is
to pass their notebook to a classmate. The classmate will take notes for the student. This allows the student being critiqued to listen fully
while their classmate takes dictation. Each student is expected to share and alternate note taking duties accordingly.
LATE WORK: Assignments are to be completed by deadlines and meet specifications given. On critique days, assignments are to be
hung on the walls or displayed in appropriate fashion as detailed by the professor within 5 minutes after class starts. The 5 minutes
are to be used for hanging, not project assembly.
Students not ready to begin critique at 5 after or when the professor specifies will be considered as having a late project, even if the
project is handed in on the correct day. Students who do not have enough work on progress due dates, such as sketches or progress
critiques, will receive a -3 point penalty to the project final grade total . This deduction also applies to anyone who does not have the
work or is absent from class on these progress due dates. Students who come late to critiques/finals or do so on multiple occasions,
may result in not having the work critiqued by the group. Punctuality is a professional standard and courtesy to other students.
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
page 1
ARTS
354
SYLLABUS SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
LATE WORK (cont.) For each day late, a project drops 3 points on a 12 point scale. For example, if a project due Tuesday earned a B+
(10), but was not handed in until Thursday, so the grade is now a D- (4).
ATTENDANCE:
Students are expected to show up on time to designated class days. THREE unexcused absences will lower the semester grade one letter. Each additional absence lowers the semester grade another letter. THREE late arrivals or early departures will constitute an unexcused
absence. An absent student is responsible for getting any missed information.
EXCUSED ABSENCES may be given at the professor’s discretion, if the student notifies the professor. A student might be asked to
provide documentation. Religious holidays will be exempt from penalty if advance notice is provided. Students with health or disability
issues that require special accommodations must first register with the Students with Disabilities Office (SDO). SDO can be contacted
at room 240 in the Student Center, 734-487-2470. Accommodations can only be made from the date of registration and forward, not
retroactively.
GRADING:
Projects are scored on a 12 point scale. The semester grade will be an average of all projects, and will follow the same grade scale. The
12 point scale is as follows:
12-11
A
10-9
B
8-6
C
5-4
D
3-0
F
Superior to excellent.
Above average.
Average. Work meets minimal requirements and quality.
Below average. Poor work that lacks quality.
Fail. Very little effort or results.
Students will be given a grade for the semester based on participation, effort, and contribution to critiques &
discussions. This grade will be equal to half a project (six points). In instances of a semester grade average with a decimal (like say a 9.5),
the grade will round up OR down based on participation, preparedness, and effort.
PROJECT REDOS:
Students may redo projects for a higher grade if adequate improvement is shown. Projects with a B+ through a B- may be redone for an
increase up to an A-. Projects scoring a C+ through a D- may be redone for an increase up to a B+. Any project that initially received
a grade of FAIL (F) or was handed in late may NOT be redone. When evaluating redo projects, all original penalties will still apply. For
example, if a student was deducted three points for not having sketches, the redo grade will reflect that point deduction.
OFFICE HOURS:
MON., TUES., THURS 1-2 PM
2-4 PM WED. (APPOINTMENT ONLY)
STUDENT AND EXCHANGE F and J visa students, you have ten days to report any changes in your name, residential address, academic status, program of study,
VISITOR PROGRAM:
completion date, student level, funding source, intent to transfer to another university, or probation or disciplinary action due to
criminal conviction. In accordance with new federal regulations, report changes to EMU Office of International Students (229 King Hall,
487-3116). Failure to do so may result in arrest and deportation. You may not drop a course without OIS approval. Any questions or
concerns regarding this contact OIS, not the instructor.
WORK REPRODUCTION:
The department reserves the right to reproduce student work on the department website and promotional materials. In addition, the
instructor reserves the right to use it for future instructional purposes. If you object to having your work reproduced please notify the
instructor in writing.
OUTSIDE LAB HOURS:
M,T,W 1-2:00 PM are my office hours, and students may work in the class or computer lab during this time as well.
Students may enter the building during open building hours or using their EMU ID swipe card. The computer lab will not be available
outside the listed lab hours above. The classroom door has an attached lock box to access the door key.
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
page 2
ARTS
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SYLLABUS SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
ACADEMIC DISHONESTY
Plagiarism, cheating, falsification, and dishonesty are unacceptable. Such instances will be dealt with according to the rules of the
University as outlined in the University Catalog available through the Office of the Registrar and at welcomed/public/catalogues.
Academic dishonesty may result in disciplinary actions such as failure of a project, failure for a class, or expulsion. A referral can be
made to the Student Judicial Services, who’s policy can be found at www.emich.edu/sjs. Academic dishonesty is defined by Eastern
Michigan University standards at: http://www.emich.edu/sjs/conductcode.html.
DISRUPTIVE CONDUCT
Any student who impairs, interferes with, or obstructs the normal operations of this class will be asked to stop this behavior or possibly leave the classroom. A student who is asked to leave the classroom for disruptive behavior will receive a zero for the work and
attendance that day. Continual disruptive conduct may result in further disciplinary actions and the involvement of Student Judicial
Services.
COMMON DISRUPTIVE BEHAVIORS listed by the university: grandstanding, sleeping in class, prolonged chattering, excessive lateness, poor personal hygiene, overt inattentiveness, eating, drinking, gum chewing, cellular phones, unexcused exits from class, verbal/
physical threats, disputing the instructor’s authority and expertise.
http://www.emich.edu/studentconduct/facultylinks.php
No cell phone usage during class. In the event of an emergency situation notify the professor for permission to use during class. If
permission is granted, students should set the phone to a silent setting.
Instances of computer breakage, vandalism, or theft may result in disciplinary actions from the Art Department. Students are NOT to
perform computer repairs. If a problem arises, students should contact an EMU faculty member or lab monitor on lab days.
If a student feels there is a problem with the class, other students or the instructor, the student in question should discuss it in private
with the instructor. Students harassing other students in any way will not be tolerated. Students should bring such instances to the
instructor’s attention. If a student has an issue with the instructor, students should also speak directly with the instructor. As a free
speech advocate, criticism directed towards the instructor in private will be dealt with as fairly as possible and have no effect on a
student’s grade. Challenges to the instructor’s authority will not be tolerated.
ONLINE RESOURCES
Log in to MYEMICH > click “students” > pull down the drop down window to the correct semester > then click this course title > then
click the various tools
LINKS
For projects, there will have a set of links up. These links may be examples of similar projects formally or conceptually. The links will be
labeled a designation for each project (P1, P2, etc.), designer or group name, and description. Example: “ P2-Mike Perry”.
FILES
Project sheets, syllabus, demo files, and handouts given in class will also be available online under the myemich settings.
CLASS E-MAIL
Each student may access the entire class and myself via e-mail. Think of this as a community. Students should feel free to contact the
instructor, certain students or even the whole class. Low rez versions or pdfs work best. The instructor will e-mail back feedback. You
never know if any other student will. It is strongly encourage that everyone e-mail replies back when they are able to, as it is not only
educationally beneficial, but a lot of fun and peer interaction. Students should feel free to e-mail other things, such as art exhibitions,
links to artists, or the random “come see my band” announcement. The instructor will also communicate with the class via emich e-mail
and not anyone’s personal e-mail.
TECH HELP
The instructor will answer questions as soon as possible in class or via email. For a quicker guide, I suggesting using the HELP option
located in all the software packets we will use (see the top of the screen in the white bar).
The web site http://www.lynda.com/ offeres comprehensive tutorials if needed.
Changes to policy or syllabus may be enacted, but students will be notified.
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
page 3
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COSTS AND SUPPLIES SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
DIGITAL STORAGE:
Students will need some form of rewritable digital media storage.
SREEN PRINTING
SUPPLIES:
NEWSPRINT PAD. Each student is required to purchase at least one pad for the class. The class will communally share in the newsprint
for practice prints. Pads will be due in class Monday, July 9. 24” × 36” size, 50 sheet or more count.
SCREENS. It is recommended students use a 200 line mesh or more. The finer the mesh, the better for smaller details. If a work has a
significant amount of black area ,a bigger mesh is easier to push. The design area has a number of free aluminum screens for students
to use that are labeled “PUBLIC” that are mostly 23x31” and a few larger sizes. Do NOT use any screen with a person’s name on it, unless
you have permission.
Students may opt to purchase their own screen. There are many online resources, but SCREEN TEK in Warren is semi local.
http://www.screentekimaging.com/ phone: 586-759-4850 for screens and squeegees. Screen Tek has pick up or UPS delivery, which
arrives the next day anywhere in MI. Aluminum screens are around $28 .
EMULSION. The design area makes use of a Ulano liquid emulsion, which is stored in the exposure room refrigerator. This emulsion is
free for students to use.
SQUEEGEES. The design area has a fair number of squeegees in the class to use. Students may opt to purchase their own. Public
squeeze usage will be used on a first come first serve basis.
INK. The class will be using WATER BASED ACRYLIC INKS. This includes inks for screen printing or fabric. Fabric tends to be thicker and
require more effort to push it through a screen. The design area has some basic colors in the metal storage container that is free for
students to use. Students can mix these colors as well. Screen Tek does NOT stock water based inks. Michaels in Ypsilanti and Dick Blick
in Dearborn have limited choices, and only basic colors. Both stores are pricey and only stock small bottles.
Online shopping often yields greater selection and price breaks. A recommended vendor: http://www.printmaking-materials.com/
Ink purchases should consist of those labeled “acrylic” on the bottle. “Water based” or “fabric” ink will work, but are a bit thicker than
the typical “acrylic” labeled bottles. Technically, they are all “acrylic” but the difference comes down to thickness.
The class will complete the first project via screen printing. The next two projects will be open format. Screen printing for all later projects is still an option.
PAPER. The design area has made available some basic paper choices for students to use. Students may opt to purchase other papers
for different sizes, color, or texture. Paper choices will effect the quality of the piece.
EXTENDER OR TRANSPARENT BASE. This can thin out ink and can save you ink in the long run.
This can also effect the opacity of your inks for more printing options.
OUTPUT:
Students will produce work for progress crits. Since the class will be using color often, students will need color comps of posters as
detailed in the project sheets. These comps may consist of a tiled version or a composite digital output. If a student has a black and
white tiled version or composite, they must also have a smaller version in color.
After the first project, students are free to produce posters in any media, including digital output. Some vendors include:
FEDEX KINKO’S
http://www.fedex.com/us/officeprint/main/ FEDEX Kinkos has convenient locations and some stores are 24 hours, but higher costs.
The web page has store locator that also lists hours of operation.
COPY MAX
3765 Washtenaw Ave, Ann Arbor, 48104 - (734) 677-1747
32777 Oak Valley Dr, Ann Arbor, 48103 - (734) 769-4338
HALLE LIBRARY on campus has inexpensive digital output.
http://www.emich.edu/library/
OTHER SUPPLIES:
TAPE- masking or painters tape. This will be used in masking off areas of the screen.
X-acto knife and blades.
Sketch pad. Size and format are open.
Students may store supplies in the hallway lockers.
Students must supply their own locks and label the locker with their name.
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
page 4
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BIBLIOGRAPHY
SYLLABUS SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
Aulich, James, War Posters: Weapons of Mass Communication. London.: Thames and Hudson, 2006
Foster, John. New Masters of Poster Design: Poster Design for the Next Century. Beverly.: Rockport Publishers, 2006.
Foster, John. New Masters of Poster Design: Poster Design, Vol. 2 for the Next Century. Beverly.: Rockport Publishers, 2012.
Glaser, Milton, The Design of Dissent: Socially and Politically Driven Graphics. Beverly, MA.: Rockport Publishers, 2005
Hughes, Anne, The Printmaking Bible: The Complete Guide to Materials and Techniques. San Fransisco.: Chronicle Books, 2008
Lewis, Warden, Winterburn and Finn, Public Address System: Poster Speeches by Typographers, Melbourne.:
Images Publishing Group, 2006
Meggs, Philip, Meggs’ History of Graphic Design. Hoboken.: John Wiley and Sons, Inc., 2005
Middendop, Jan, Dutch Type. Rotterdam.: Uitgeverij 010 Publishers., 2004
Perry, Mike, Pulled: A Catalog of Screen Printing. New York.: Princeton Architectural Press, 2011
Pratkanis, Anthony, Age of Propaganda: The Everyday Use and Abuse of Persuasion. New York.: Holt Paperbacks, 2001
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
ARTS
354
STUDENT:
SAMPLE GRADE SHEET SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
JOHN J. SAMPLE * NOTE: The instructor reserves the right to change grading penalties based on scope of projects.
CONTENT: 4
0 Fail. 1 Below average. 2 Average. 3 Above average. 4 Excellent
0-4 The creative ideas behind and governing your piece. How well your work met the
conceptual criterias of the project.
DESIGN: 3
0-4 Your sense of design principles, composition, and aesthetics.
CRAFT: 3
0-4 Skill in producing, rendering, and constructing the project; both digitally and manually.
How well your work met physical criterias of the project.
OTHER:
-3
-3
GRADE:
4 D-
Miscellaneous aspects that affected your grade.
Not enough sketches.
No work on the progress crit.
12-11 A Superior to excellent. 10-9 B Above average.
8-6 C Average, meeting minimal requirements. 5-4 D Below average. 3-0 F Fail
COMMENTS:
Good use of positive and negative space on both sides. The whole inside would not be as
dynamic if you didn’t put in those solid black panels and cyan area.
The display font works well. I would suggest being more consistent. The front cyan type has
no stroke, but the inside does. They both have strengths, so you might want to pick one of
those treatments. Same on the back- should the display font/ san serif treatment be cyan to
match the other usage?
It’s hard to read the artist’s name due to color choice. Again...you HAVE a successful
font treatment (maybe even two) and they are in cyan, not black like the name is on the
cover.
The dots are good and reference the half tone screens. I suggest extending them to the
inside. Also...more cyan ones to play up the color.
Fix the widow (aka that last word) in the paragraph. One word left hanging like that alone
does not look good.
Good choice of paper both as color, weight, and newsprint like quality you mentioned.
Craft- the images are bitmapped. The sides are cut very ragged. I suggest using a sharp
X-acto knife when constructing your final projects.
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
ARTS
354
PROJECT 1 SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
Students will create a poster that advertises a font or font family. Students will research the
font and typographer who created the font. The font must have been created within the last 10
years. The poster needs to contain:
1. Font name.
2. Font specimen(s).
3. Designer’s name.
4. Company putting out the font (if applicable).
5. Web page or contact means to acquire the font.
6. Cost.
7. (Optional) Background info or summary of what the font is about.
FORMAT: 18”x24” screen printed poster.
Things to consider: What is the best way to represent the font? Imagery? All type? Is this a
display or body font? If a display font, should you use a body font for the smaller information?
CONTEMPORARY
TYPOGRAPHY
RESOURCES: many font houses have web pages like www.emigre.com or www.t26.com. Others
like www. myfonts.com links to many and has some independent type designers. Free or
purchasable fonts are valid.
MONDAY 7-1
Review syllabus.
Poster design lecture.
DEMO- Digital production for screen printing.
TUESDAY 7-2
1st half: DEMO- Screen printing, part 1.
2nd half: Work day
THURSDAY 7-4
NO CLASS. Independance Day. University closed.
MONDAY 7-8
1st half: DEMO- screen printing, part 2.
2nd half: 15 sketches due. Students are expected to show multiple ideas and not just variations
of the same idea. Individual critiques with Professor Maniotes.
TUESDAY 7-9
Work day.
THURSDAY 7-11
1st half: Progress crit. Students shall have 100% sized color version of poster.
Tiled or one piece output.
2nd Half: work day
MONDAY 7-15
Work Day
TUESDAY 7-16
Final poster due.
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
ARTS
354
PROJECT 2 SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
Students will create a poster for an art exhibition opening. ARTS 356 is the Installation
and Performance class that makes use of the
University Gallery on campus. This event will
be a group exhibition of various medias.
The exhibition title is:
“UNCERTAIN CONTROL”
1st ASSIGNMENT: Students will read all
materials for ARTS 356 - web page, syllabus,
and project sheets online:
http://emuinstallationperformance2013.tumblr.com/
TIMELINE:
This show will be “project 2”, which has not
been posted to ARTS 356 web site yet. It will be
a similar exhibition to the one seen in “project 1” which is posted. The instructors haven’t
posted the project sheet to keep focus on the
current assignment.
EXHIBITION
EVENT
A small committee of students from the class
will help critique the poster design work. They
will also choose one poster that will be used
for print and digital romotions. This winner
must produce 20 copies that will be screen
printed or spray painted stencils.
SIZE: One dimension must be at least 18 inches. The other dimension is open.
FORMAT: Any. NOTE: although digital format
may be used for the final critique, students
should design the poster with similar sensibilities as screen printing. (flat color, or halftones, etc.) Other options, including the those
used on the winning entry,: altered paper,
spray painted stencils, die cuts, etc.
INFO NEEDED ON POSTER:
1. Title /copy: UNCERTAIN CONTROL
A group exhibition featuring installation and
performance art.
2. Reception: Monday,
August 19th 5:00pm-8:00pm
3. University Gallery, Eastern Michigan
University
Things to consider: How can this title and the
nature of the experimentive class be interpreted? How does one approach a subject that
is still being defined? What type of imagery
should one use? Should one consider all
typography & no imagery? Graphic shapes?
Abstraction? Collage?
A student committee from the class will pick
a winning entry. The winner will provide 20
screen printed copies & receive extra credit.
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
MONDAY 7-22
Meet in the classroom at 9:00 AM.
The class will leave Ford and walk over to
University Gallery at 9:15 AM. The class will
observe Arts 356 and make get a feel for the
gallery, the process, etc. and speak with the
instructors. Students may be avaible, but
keep in mind their work commitments.
10:30 AM- LECTURE
Posters and a demo of spray paint stencils.
REST OF CLASS: WORK TIME.
Each student will also discuss idea individually with Professor Maniotes.
TUESDAY 7-23
9:00- 11:00 AM: WORK TIME
11:00 AM: Progress critique.
1. Students will need a full sized color version;
tiled or one piece.
2. All students must also email pdfs or jpgs to
Professor Maniotes to pass on to the comittee.
This digital format may include any changes
from the critique.
In your email, you may also include any
notes about the work. (“example: the brown
will e chipboard, and the type will be white
ink”). Please be BRIEF.
*** Label your files with your last name:
(example: “smith.pdf” ) so the committee can
identify and comment on the work.
THURSDAY 7-25
ARTS 356 Committe emailed comments back
to Professor Maniotes by 9AM.
Work day.
MONDAY 7-29
FINAL DUE.
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
354
ARTS
PROJECT 3 SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
Students will create a poster that displays a quote from a person of fame. The subject must be a
nationally or internationally recognized figure.
For the sake of focus, it is suggested students make use of a quote that is a sentence or two in
length. The origins of the quote may originate from a published work, such as a poem, book, or
song. This quote may also originate from a publicly spoken or a documented source, such as a
speech or interview.
COMPONENTS:
1. Quoted text
2. Author or speaker name
3. (Optional) Source and year
FAMOUS QUOTATION
SIZE: one dimension must be at least 18 inches.
COLORS: open
FORMAT: open
RESOURCE: Similar projects were compiled for the book :
Public Address System: Poster Speeches by Typographers.
http://books.google.com/books/about/Public_Address_System.html?id=l7eAyZV0b-oC
Professor Maniotes will make this book available for in class use.
RESTRICTION: No imagery of the person who originated the quote.
GRADUATE STUDENTS: Graduates will make a series of two quotation posters. The series can be
subject or author based.
TUESDAY 7-30
1st HALF of class:
WORK DAY
2nd HALF
15 sketches due at 11 AM. Show a variety of ideas.
Individual critiques with Professor Maniotes.
THURSDAY 7-22
Work day.
MONDAY 8-1
Progress crit. Students will need a full sized color version of their poster to hang.
TUESDAY 8-2
Work day.
THURSDAY 8-4
FINAL DUE
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
354
ARTS
PROJECT 2 SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
Students will create a poster that informs an outsider about a local community they belong to.
Student may choose from the following:
1. The University.
2. The art department.
3. Ypsilanti.
4. Another Michigan city or town.
5. The State of Michigan.
In previous classes, students have taken this list in a variety of directions to reflect their individual interests. Some examples include: the Ypsilanti softball league, Elvis Fest, the Detroit DJ
scene, and Wyandotte Neighborhood dive bars.
LOCAL COMMUNITY
SIZE: one dimension must be at least 18 inches.
COLORS: Open
FORMAT: Open
Things to consider: What about this community is being showcased? Is this useful insider
info you think a newcomer should know? Something discovered by accident? An aspect you
love or hate? Is this just some quirky trait that makes the community unique?
RESOURCE: The Library of Congress has a similar project for high school students. While the
“art” is less than spectacular, the questionnaires and research methods might help:
http://www.loc.gov/folklife/poster/
THURSDAY 7-18
1st HALF of class:
STENCIL DEMO + LECTURE
2nd HALF
15 sketches due. Show a variety of ideas and not just variations of the same.
Individual critiques with Professor Maniotes.
Work Day.
MONDAY 7-22
Work day.
TUESDAY 7-23
Progress crit. Students will need a full sized version in black and white (or color) to hang.
THURSDAY 7-25
Work day.
MONDAY 7-29
FINAL DUE
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
354
ARTS
PROJECT 4 SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
PROPAGANDA is defined as a form of
communication aimed towards influencing the attitude of a community toward
some cause or position by presenting
only one side of an argument. Students
will produce a propaganda campaign
consisting of a series of TWO posters
PROPAGANDA
Poster Series
SOME “MASTERS” OF PROPAGANDA:
1940s WW2 America
Russian Constructivists
Nazi Germany
1930s WPA
Cold War 1950s “anti Commie” campaign
China during Chairman Mao
Gay rights (Grand Fury from the 1980s)
both sides of the abortion debate
National Organization for Marriage
www.truth.com
Shepard Fairey - www.obey.com
Piotr Szyhalski
People for the Ethical Treatment of Animals
the Gorilla Girls
the Tea Party Patriots
Occupy Wall Street
any modern US Presidential campaign
Each student will choose a cause or
ideology they wish to support or oppose
(political, spiritual, economical, sexual,
social, etc.). Propaganda is very in your
face and one sided. After students choose
a cause or ideology, they must decide
where they stand, what their message is,
and what they utiimatly hope to accomplish with this message.
RESTRICTIONS: Use 1- 4 words only.
SIZE: one dimension must be at least 18
in.
FORMAT: Open.
THURSDAY 8-8
Project 3 Due.
Propaganda lecture.
MONDAY 8-12
Reserach paper due.
15 sketches due of possible poster ideas.
Discuss ideas with professor Maniotes.
Work day.
TUESDAY 8-13
Progress critique.
Have full size color version of first poster
(tiled is fine).
THURSDAY 8-15
Work day.
MONDAY 8-19
9 AM- Work time.
RESEARCH: Each student shall write a
300 or more word paper about their subject, history, and their opinion/ stance on
the issue.
11 AM- Progress critique.
Have both posters full size black and
white or color version of first poster.
Things to consider: Students should
consider what type of people are they
trying to reach. Those in agreement like
a rally poster? Disagreement to engage
in debate/ tick off)?
Will you be addressing the other side at
all by saying they are wrong, or mocking,
or other propaganda techniques.?
TUESDAY 8-20
Work Day.
THURSDAY 8-22
FINAL CRITIQUE.
Hand in both posters.
This is the last day of class and the last
day to hand in any project redos.
Student shall work in a SERIES. There are
various ways to approach a series, such
as a visual system, repeating elements,
changes in the system and retaining previous elements, etc.
__________________________
GRADING:
Poster 1: 12 Points
Poster 2: 12 Points
Paper: 6 Points
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
354
ARTS
PROJECT 4 HANDOUT SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
PROPAGANDA TECHNIQUES
This handout is an overview from information presented at:
http://library.thinkquest.org/C0111500/proptech.htm
http://changingminds.org/techniques/propaganda/propaganda.htm
http://www.propagandacritic.com/articles/intro.ipa.html
Further information will be covered in the lecture and can also be found on
these web pages.
The Institute for Propaganda Analysis (IPA)
In 1936, Boston merchant Edward Filene helped establish the short-lived
Institute for Propaganda Analysis which sought to educate Americans to
recognize propaganda techniques. Although it did not last long, they did
produce a list of seven propaganda methods that have become something
of a standard. - Clyde Miller, Propaganda Analysis, NY: Institute for
Propaganda Analysis, 1937
1. BANDWAGON Pump up the value of ‘joining the party’.
Bandwagon is one of the most common techniques in both wartime and
peacetime and plays an important part in modern advertising. Bandwagon
is an appeal to the subject to follow the crowd, to join in because others are
doing so as well. Bandwagon propaganda is, essentially, trying to convince
the subject that one side is the winning side, because more people have
joined it. The subject is meant to believe that since so many people have
joined, that victory is inevitable and defeat impossible. Since the average
person always wants to be on the winning side, he or she is compelled to
join in. However, in modern propaganda, bandwagon has taken a new twist.
The subject is to be convinced by the propaganda that since everyone
else is doing it, they will be left out if they do not. This is, effectively, the
opposite of the other type of bandwagon, but usually provokes the same
results. Subjects of bandwagon are compelled to join in because everyone
else is doing so as well.
4. NAME CALLING Denigrating opponents.
Name calling occurs often in politics and wartime scenarios, but very
seldom in advertising. It is the use of derogatory language or words that
carry a negative connotation when describing an enemy. The propaganda
attempts to arouse prejudice among the public by labeling the target
something that the public dislikes. Often, name calling is employed using
sarcasm and ridicule, and shows up often in political cartoons or writings.
2. CARD STACKING Build a highly-biased case for your position.
Card stacking, or selective omission, involves only presenting information that is positive to an idea or proposal and omitting information
contrary to it. Card stacking is used in almost all forms of propaganda, and
is extremely effective in convincing the public. Although the majority of
information presented by the card stacking approach is true, it is dangerous because it omits important information.
3. GLITTERING GENERALITIES Use power words to evoke emotions.
Glittering generalities are words that have different positive meaning
for individual subjects, but are linked to highly valued concepts. When
these words are used, they demand approval without thinking, simply
because such an important concept is involved. For example, when a person
is asked to do something in “defense of democracy” they are more likely
to agree. The concept of democracy has a positive connotation to them
because it is linked to a concept that they value. Words often used as glittering generalities are honor, glory, love of country, and especially in the
United States, freedom.
5. PLAIN FOLKS Making the leader seem ordinary increases trust and
credibility.
The plain folks device is an attempt by the propagandist to convince the
public that his views reflect those of the common person and that they
are also working for the benefit of the common person. The propagandist
will often attempt to use the accent of a specific audience as well as using
specific idioms or jokes. Also, the propagandist, especially during speeches,
may attempt to increase the illusion through imperfect pronunciation,
stuttering, and a more limited vocabulary. Errors such as these help add
to the impression of sincerity and spontaneity. This technique is usually
most effective when used with glittering generalities, in an attempt to
convince the public that the propagandist views about highly valued ideas
are similar to their own and therefore more valid.
6. TESTIMONIALS An independent person seen as more trustworthy.
Testimonials are quotations or endorsements, in or out of context, which
attempt to connect a famous or respectable person with a product or item.
Testimonials are very closely connected to the transfer technique, in that
an attempt is made to connect an agreeable person to another item. Testimonials are often used in advertising and political campaigns.
7. TRANSFER Associate the leader with trusted others.
Transfer is often used in politics and during wartime. It is an attempt to
make the subject
view a certain item in the same way as they view another item, to
link the two in the subjects mind. Although this technique is often used to
transfer negative feelings for one object to another, it can also be used in
positive ways. By linking an item to something the subject respects or enjoys, positive feelings can be generated for it. However, in politics, transfer
is most often used to transfer blame or bad feelings from one politician to
another of his friends or party members, or even to the party itself.
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268
354
ARTS
PROJECT 4 HANDOUT SUMMER 2014
Poster Design
Professor Andrew Maniotes
M/T/TH 9:00 AM - 12:50 PM
Other Propaganda Techniques:
ASSERTION
Assertion is commonly used in advertising and modern propaganda. An assertion is an enthusiastic or energetic statement presented as a fact, although it is not necessarily true. They
often imply that the statement requires no explanation or back up, but that it should merely be
accepted without question. Examples of assertion, although somewhat scarce in wartime propaganda, can be found often in modern advertising propaganda. Any time an advertiser states
that their product is the best without providing evidence for this, they are using an assertion.
The subject, ideally, should simply agree to the statement without searching for additional
information or reasoning. Assertions, although usually simple to spot, are often dangerous
forms of propaganda because they often include falsehoods or lies.
LESSER OF TWO EVILS
The “lesser of two evils” technique tries to convince us of an idea or proposal by presenting it
as the least offensive option. This technique is often implemented during wartime to convince
people of the need for sacrifices or to justify difficult decisions. This technique is often accompanied by adding blame on an enemy country or political group. One idea or proposal is
often depicted as one of the only options or paths.
THE BIG LIE
Make a claim that is so outrageous that people will assume that it cannot be a lie, and so accept it as truth. Strongly assert the lie. Massage available data to ‘prove’ the lie as being true.
Reframe vigorous denial as proof of guilt.
Example: A local political candidate suggests that their opponent is planning to sell off public
recreation areas and produces a plan and ambiguous ‘leaked’ recordings that hint at behinds
the scenes dealings.
PINPOINTING THE ENEMY
Pinpointing the enemy is used extremely often during wartime, and also in political campaigns
and debates. This is an attempt to simplify a complex situation by presenting one specific
group or person as the enemy. Although there may be other factors involved the subject is
urged to simply view the situation in terms of clear-cut right and wrong.
SIMPLIFICATION
Simplification is extremely similar to pinpointing the enemy, in that it often reduces a complex
situation to a clear-cut choice involving good and evil. This technique is often useful in swaying uneducated audiences.
CHARACTER ASSASSINATION
This technique is an attack on the person or persons, showing them to be bad and unworthy.
Similar to “Transfer” but with more negative only implications.
Any of the ‘four Ds’ below may be used (as well as additional methods):
Discredit- show their arguments and decisions are weak and they are incapable in their work.
Defamation- damaging the good reputation and name of others.
SPIN: Effective propaganda information management is most importantly about ‘spinning’ the
information such that it has maximum effect.
Particular spinning methods include:
Amplification: Making small things seem large.
Downplaying: Making big things seem small.
Distortion: Making half-truths seem true and truths seem wrong.
Statistics: Blinding them with impressive-looking numbers.
Lies: Simply spreading untruths.
Examples:
‘Radio Free Europe’ provided cold war communist bloc companies with information about their
own countries’ activities. It appeared to be independent but was run by Western governments.
‘Independent’ websites that ‘tell the truth’ about certain cults have been developed by those
same cults.
SLOGANS
Define a short phrase which enthuses people into acting in the way that you seek. Keep it
simple. Use the slogan all over the place. Use it in speeches. Put in on posters, flyers, adverts
and so on. Use it by default as a header or footer in documents.
Expound upon it. Discuss what it means and what people should do as a result. Use it to beat
your opposition and legitimize your actions.
Examples:
a. ‘Yes, we can’ - Barack Obama, 2010
b.‘Labour isn’t working’ - UK Conservatives, 1979
c. “Make Love Not War”- Hippies, 1960s
STEREOTYPING
Classify the other side negatively. Cast those who you want to denigrate into an unpopular
stereotype. Talk about the stereotypes as ‘them’, downplaying their rights as humans. Describe
them as threatening, unworthy, disgusting and other negative frames.
Put emphasis on the stereotype words and the associations you want link to the stereotypes.
Name their leaders. Give exaggerated and distorted examples that ‘prove’ the stereotype and
so condemn all who follow them.
Stereotyping can also be used to cast a group of people as good, perfect and otherwise
wonderful and desirable.
Example
“These foreigners who come here and take all our jobs and suck dry all the social benefits of
our democratic system. These are the parasites we must purge!”
Demonize- turning them into bad people that everyone hates, such that anything they do
will be considered bad.
Dehumanize- treating them as a ‘thing’ and framing them as non-human with negligible
values.
INFORMATION MANAGEMENT
GATHER: First, collect information assiduously. Garner knowledge from whatever source that
can be found or created. Propagandist information gets sourced from may places, including:
Life histories: Burrowing into the past of target people, digging for dirt and other useful
information.
Dumpster diving: Exploring the ‘rubbish’ that others throw away for private information.
Unwitting spies: Making friends with the friends of target people and then carefully
pumping them for information.
Infiltration: Paying spies to get into the target camp and get close to their leaders.
Video evidence: Incriminating or otherwise useful videos and photos of the target.
Social Engineering: Grooming and impersonating target employees to get critical access.
EASTERN MICHIGAN UNIVERSITY DEPARTMENT OF ART
amaniotes@emich.edu Ford Hall 224 office: 734.487.1268