New Media 2005 – Design Fundamentals for New Media
Session:
Instructor:
Email:
Web:
Office:
Office Hours:
Phone:
Fall 2006
Christopher Moore
christopher.moore@uleth.ca
www.learnmegood.ca
W888
Tuesdays and Thursdays 1:00 pm – 2:30 pm; or by appointment
380-1885
Section A
Room B519
Tuesdays 3.05 pm – 4:55 pm
Thursdays 3.05 pm – 4:55 pm
Section B
Room B520
Mondays 4.00 pm – 5:50 pm
Wednesdays 4.00 pm – 5:50 pm
Design permeates and underscores all aspects of our daily lives– from the clothes we choose to
wear, to the paths we take to school or work– even the way we tie our shoes exemplifies the
design process. The word design means literally to mark out or to devise, suggesting a
conscious effort to create a solution to a perceived problem, and to record this information in
some way, shape, or form. While we may not physically sketch out our paths to and from school,
we have an internal map or schema, which we call upon each time we head out the door. The
design process is essentially a series of logical operations that are based upon a set of
underlying rules which have been pre-determined.
“…A building is not designed by putting together a series of rooms. Any (good) building
has an underlying design concept that binds all the parts together into a whole. Without
this it is not architecture.”
– Edmund N. Bacon (1910– )
In the above quotation, Bacon suggests that elementary units, when brought together, do not
necessarily comprise a cohesive whole. Without a clear structure and set of guidelines, the
building will not come together in a meaningful (or structurally secure) way. All parts must
inevitably relate back to the blueprint, the recipe, or master-plan. Similarly, Daoist thinker LaoTse expresses this concept through an architectural metaphor:
“The reality of a room is to be found in the vacant space enclosed by the roof and walls,
not in the ceiling and walls [themselves].”
– Lao-Tse (604-531 BCE), Book of Tea
If we extend this concept to graphic design and typography, Lao-Tse might suggest that words
and pictures on a page are meaningless without a sense of organization. Without language,
syntax, and paragraph structures, individual letterforms present a random and chaotic message.
Effective composition and layout “enclose” and encode the meaning in a format that is logical,
legible, and easily understood.
Throughout the years, artists and designers have devised a number of systems to organize
information. In Egyptian hieroglyphs, the scale and size of individual figures were depicted
according to their rank in society–pharaohs, kings and queens appeared as giants, while servants
and slaves were miniscule, by comparison. This system communicated not only physical
descriptions and details, but also addressed familiar social and cultural values of the era.
Likewise, twentieth century modernists used various grid systems to create rigid, geometrical
structures into which information could be positioned. This idea was presented as a universal,
neutral, and international system that would be theoretically suitable for any content/theme in
locations throughout the globe. Of course, this system completely disregards regional and
cultural differences which are critical for effective communications.
At the heart of good design is communication–an understanding of audience, message and
context in which the message will be received. By studying the basic components of visual
language, one can become versed in the “tools” used to create compositional frameworks, and
learn to make appropriate aesthetic decisions. The role of art in design is subservient, but
nonetheless connected to the role of communication. One must be aware of the common visual
tropes that speak to specific communities and individuals.
In this course, students will learn the basic language, history, and discourse of visual design, as it
relates to new media practice. Typographic anatomy and Gestalt principles will be addressed
through a series of rigorous design exercises, leading from simple forms to complex page
architectures. The focus of Design Fundamentals for New Media is on training the observational
faculties, and providing useful “rules” for revealing the underlying structures present in effective
design communications.
“The most difficult things to design are the simplest.”
– Raymond Loewy (1893-1986)
Objectives:
Upon completion of this course, students will be conversant with aspects of the
historical, theoretical, cultural and technical dialogues which frame the field of
graphic design. Students will become familiar with typographic forms and
languages, and will explore the effective and appropriate use of type through
applied projects in print, digital, and motion graphics. Students are expected to
complete all assignments, including reflective documentation, which articulates
their concepts and demonstrates their processes. The assignments are designed
to afford students creative flexibility in applying the core technical skills outlined in
the class sessions.
Required
Texts:
There are no required texts for this course. However, handouts and additional
online resources will be provided by the instructor (www.learnmegood.ca). You
may wish to purchase the Adobe Classroom in a Book text from Adobe Press for
Illustrator. This book contains tutorials that may assist you outside of this class.
You are required to bring a notebook/sketchbook and writing implements to each
class session. It is expected that you will take notes during the lectures and
demonstrations to assist you outside of the class sessions.
Optional
Equipment:
It is recommended that you bring a set of headphones to each class session, as
the workstations are not equipped with speakers. While personal storage space
exists on the network, it is subject to down-time and routine maintenance. For
this reason, you should always backup data on a CD-RW disk or a portable USB
drive.
A list of additional materials will be provided during the first weeks of class.
Occasionally, you may be required to purchase additional materials, depending
upon your project direction. You should also budget for black and white and
colour output, as most assignments will require submission of printed hard
copies.
Attendance & What and how much you learn in this class is directly related to your participation
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Participation: in every lecture and lab session. The studio environment is an important tool for
learning about methodologies and processes, and for developing critical and
technical skills. Your most important contribution to this learning environment is
your interest and creative imagination. Engage – use all your experience,
knowledge and natural creativity to develop your skills and those of your peers.
Your engagement will be directly proportional to your learning and success in this
course.
An attendance sheet will circulate during each class. At the end of the term, you
will receive a grade based on your attendance record, mature and considerate
conduct in class, questions and comments made during class, etc. Appropriate
conduct includes arriving on time, returning promptly after break sessions,
respecting individuals who have the floor during a presentation or discussion,
turning off monitors when asked, providing assistance to colleagues requiring
help, and avoiding idle chatter unrelated to the focus of a given lecture or lesson.
I realize that not all students are as comfortable as others in speaking regularly
during seminars, therefore, I will accept other activities as evidence of
participation. For example, you can bring an interesting handout to class, or
provide an interesting link or media sample to share with your colleagues. I am
always looking for new resources to update and refine the course delivery in
subsequent iterations.
If you are unable to attend a class session, as a courtesy, please advise me of
the situation via email. If you miss more than three classes and/or three labs,
you may be asked to withdraw from the course. Please be advised that NMED
2005 is a required course for completion of your degree and that withdrawal from
it could seriously impact your ability to graduate.
Emails:
In order for me to efficiently respond to questions, proper email formatting is
necessary. Please use appropriate subject titles, and indicate the course
number when sending emails. For example, “NMED 2005: Assignment 2,
Sample Layout.”
Assignments: Any project that may be designated an exercise or which is part of the
coursework must comply with university guidelines related to human and animal
ethics as well as should comply with Canadian laws. If you have questions about
risks, please consult with the instructor.
Assignments are to be completed by the beginning of the class on the date which
they are due. All students must be prepared to present each project during the
face-to-face session. All completed assignments are to be submitted on a nonreturnable CD or DVD, unless otherwise specified.
Academic
Integrity:
You must correctly document in your assignments all ideas and media that have
been incorporated in your projects, but have been borrowed from outside
sources or from your colleagues. In the case of teamwork, the bounds of what
was contributed by each student must be clearly delineated. Failure to do so is
considered as academic dishonesty and treated accordingly. For written papers,
all sources used in the development of your work must be cited as references.
Where text is borrowed from another source, quotation marks must indicate the
citation and the source must be acknowledged appropriately. (A Turbian citation
guide is available in pdf format at:
www.uleth.ca/~christopher.moore/SampleCitations(Turabian).pdf)
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Late Policy:
Projects submitted late will receive a deduction of 5% per day, unless prior
arrangements have been negotiated. If you are struggling with the content, or
having difficulties managing your time, please advise me. I am a compassionate
individual, and am most often able to accommodate requests, if you provide a
reasonable alternative.
Personal
Security:
This course will strive for consistency with the University’s policy on personal
security, where it is acknowledged that freedom of expression and frank
discussion of controversial issues are kept in balance with an individual’s rights
not to be subject to discrimination based on gender, ethnicity, sexual orientation
or other forms of intolerance.
Sexual harassment is a serious offence that includes but is not limited to sexual
advances, unwanted requests for sexual favours, and other unwanted verbal or
physical conduct of a sexual nature. Behaviour need not be intentional to
constitute harassment. Harassment occurs when an objective person in the
position of an individual claiming harassment would find the conduct or
comments would have the impact of creating a hostile environment.
Evaluation:
10% Readings / Participation / Attendance / Quizzes
0% Assignment #1: Data.Body
Due September 11 (Section B), September 12 (Section A)
5% Assignment #2: Composing with the Camera
Due September 18 (Section B), September 19 (Section A)
5% Assignment #3: Graphic Primitives
Due September 25 (Section B), September 26 (Section A)
5% Assignment #4: Typographical Hierarchies
Due October 2 (Section B), October 3 (Section A)
10% Assignment #5: Found Type
Due October 16 (Section B), October 17 (Section A)
10% Assignment #6: Visual Onomatopoeia
Due October 23 (Section B), October 24 (Section A)
10% Assignment #7: Type/Image Homage
Due November 6 (Section B), November 7 (Section A)
10% Assignment #8: Architectural Deconstruction
Due November 15 (Section B), November 16 (Section A)
20% Assignment #9: Visual Culture Essay
Due November 27 (Section B), November 28 (Section A)
15% Assignment #10: Type in Motion
Due December 6 (Section B), December 7 (Section A)
Class Schedule:
Week One – September 6-7
Design is Everywhere
Introduction: Course structure, philosophy, expectations, policies
Topics: design language, communication studies
Assignment #1 Introduction: Data.Body
Week Two – September 11-14
The World is Flat: Points, Lines and Planes
Topics: planes and division of 2D space, rule of 3s, Fibonacci sequence, golden mean, value
scale, visual weight
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Assignment #1 Due: DataBody (no presentation)
Assignment #2 Introduction: Composing With the Camera
Week Three – September 18-21
Room to Breathe: Whitespace, Contrast and Balance
Topics: positive/negative space, tension, balance, contrast, Gestalt principles
Assignment #2 Due: Composing With the Camera
Assignment #3 Introduction: Graphic Primitives
Week Four – September 25-28
The Fine Print: Typographical Hierarchies
Topics: type orientation, directing the reader’s eyes, whitespace, visual weight, type
characteristics
Assignment #3 Due: Graphic Primitives
Assignment #4 Introduction: Typographical Hierarchies
Week Five – October 2-5
Anatomy 101: Typographical Elements and Structures
Field Trip (City Centre): visual collection and research (details TBA)
Topics: type anatomy and syntax, history of print technologies, letterform classifications
Assignment #4 Due: Typographical Hierarchies
Assignment #5 Introduction: Found Type
Week Six – October 9-12
Dresses for “S”s: Type Characteristics
Note: Class is cancelled on Monday, October 9, due to the Thanksgiving holiday (Section B only).
Guest Lecture: Emily Luce
Topics: cultural/social differences and considerations, making appropriate selections, display
versus body type
Quiz: Typographical Anatomy
Week Seven – October 16-19
Type That Speaks: Wordmarks and Logotypes
Topics: definitions and distinctions, visual language, mnemonics, iconography, information
graphics, wayfinding
Assignment #5 Due: Found Type
Assignment #6 Introduction: Visual Onomatopoeia
Week Eight – October 23-26
Everything Old is New: Typographic Styles
Topics: historical design movements, constructivism, Bauhaus, modernism, post-modernism
Assignment #6 Due: Visual Onomatopoeia
Assignment #7 Introduction: Type/Image Homage
Week Nine – October 30-November 2
Type as Image: Forms and Intertextuality
Field Trip/Tour: Printing Services (date/details TBA)
Topics: display type, abstract type, hybrid forms and specimens
Week Ten – November 6-9
Row on Row: Parallels and Alignments
Topics: proportion, scale, unity, flow
Assignment #7 Due: Type/Image Homage
Assignment #8 Introduction: Architectural Deconstruction
Week Eleven – November 13-16
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Everything in its Place: Grid Systems
Note: Class is cancelled on Monday, November 13, due to Remembrance Day (Section B only).
Topics: page layout, grid supports, axonometric systems, page architecture, breaking the grid
Assignment #8 Due: Architectural Deconstruction
Assignment #9 Introduction: Visual Culture Essay
Week Twelve – November 20-24
Quality Control: Design Consistency
Topics: designing the perfect page, multi-page layout, variations on a theme, developing a design
scheme and graphic standards
Week Thirteen – November 27-30
Words on a Screen: Type in Motion
Topics: legibility, character, pacing, appropriateness
Assignment #9 Due: Visual Culture Essay
Assignment #10 Introduction: Type in Motion
Week Fourteen – December 4-7
Presentations
Assignment #10 Due: Type in Motion
Assignments:
Assignment #1: Data.Body
Value: 0%
Duration: One week
Due: September 11 (Section B), September 12 (Section A)
Your first assignment is to provide the instructor and the rest of the class with information related
to your interests, goals, and media preferences. This data mining will be directly incorporated
into the class sessions on a week-by-week basis.
Deliverables:
You are asked to submit a CD containing the following components:
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A short bio about yourself:
o Where are you from?
o How old are you?
o What do you do outside of school?
A statement of aspirations:
o Why have you chosen this program/school?
o What kind of goals are you trying to achieve?
o What are your career aspirations?
o What do you wish to achieve in this course?
An indication of your existing technical skills:
o What level of experience do you have with Photoshop,
Dreamweaver, Premiere (or other video editing
software)?
o Do you have access to a digital still or video camera?
A photograph of yourself (snapshot/passport-style)
5-10 of your favorite MP3s, or a selection from your current
playlist (optional)
A list of 5-10 websites which you enjoy or frequent on a regular
basis (include URLs and brief descriptions of content)
A list of your 3 favorite films
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A list of your 3 favorite books
A list of your 3 favorite magazines
Create a self-portrait in any medium, but do not spend more
than 15 minutes on this activity.
This assignment will not be evaluated, however, it will be reflected in your participation grade.
You may format the document/files in any fashion (Word, PDF, Website, PowerPoint, etc.). If you
have additional or alternative information that will paint a clearer picture of who you are and what
makes you tick, feel free to share!
Assignment #2: Composing with the Camera
Value: 5%
Duration: One Week
Due: September 18 (Section B), September 19 (Section A)
For this assignment you are asked to use the camera view-finder as a compositional tool. Rather
than beginning from scratch with a blank page, you will capture and edit imagery from the world
around you. Taking into consideration the classical means of spatial division presented in the
class session, select architectural details, abstracted 3D forms and/or corners of rooms as your
subject matter. Please avoid recognizable objects, and focus on geometrical (preferably linear)
forms. You should have approximately 10 digital images saved and available to work with during
the lab session.
From these initial photos, select four of your favourite compositions to work with. Using the
Adobe Illustrator template (provided online), place and scale your images to fit within the 4
frames. Modify the title information with your name and personal information. Create a new layer
and lock the previous two. Using the pen tool, trace the forms in your photographs, eliminating
details and embellishing others, until you have a strong composition. You may want to crop,
scale, or shift your reference photo to achieve a particular layout. Modify the fill colours for each
form, using only greyscale values.
Once you are pleased with your design, delete or hide the layer with the photographic source.
Save the file as a *.pdf, and have the document printed in black and white on 8.5”x11” cardstock
or photo paper (this can be done at the Copy Centre on level 6).
Deliverables:
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8.5”x11” black and white print on cardstock or photo paper (labeled
appropriately)
*.pdf file labeled with your name and the assignment number (i.e.
firstname.lastname_2.pdf)
please be prepared to present your work during the following class session
Evaluation will be based upon the following criteria:
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Has the student followed the assignment directions?
Is there an interesting selection of subject matter?
Do the compositions reflect an understanding of the principles explored in the
class sessions?
Do the separate compositions relate to one another on the page in a pleasing
manner?
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Assignment #3: Graphic Primitives
Value: 5%
Duration: One Week
Due: September 25 (Section B), September 26 (Section A)
Using only basic graphic primitive shapes, you are asked to create a series of compositions
exploring contrast and balance. Please use the template (available online) to compose and
frame your compositions. First, using only circles of varying sizes in black or white (no grey
tones), create a composition that emphasizes a high degree of contrast. The second should
demonstrate a low degree of contrast. The third and fourth will illustrate symmetrical and
asymmetrical balance.
Once you have completed the exercise with circles, start with new templates and repeat using
squares and equilateral triangles of varying sizes. You may use as many or as few of each
element, but do not mix the different types of shapes.
Please ensure that each layout is labeled properly with you name and the appropriate principles
illustrated. Save the files as *.pdfs, and print each document in black and white on separate
8.5”x11” cardstock or photo paper sheets.
Deliverables:
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three 8.5”x11” black and white prints on cardstock or photo paper (labeled
appropriately)
three *.pdf files labeled with your name and the assignment number (i.e.
firstname.lastname_3a.pdf, firstname.lastname_3b.pdf,
firstname.lastname_3c.pdf)
please be prepared to present your work during the following class session
Evaluation will be based upon the following criteria:
-
Has the student followed the assignment directions?
Do the compositions reflect an understanding of the principles explored in the
class sessions?
Is there an interesting or innovative approach to the compositions?
Do the separate compositions relate to one another on the page in a pleasing
manner?
Assignment #4: Typographical Hierarchies
Value: 5%
Duration: One Week
Due: October 2 (Section B), October 3 (Section A)
This assignment is designed to explore the idea of typographic hierarchies, using very limited
means. In each stage, you will be afforded more options to create divisions between the levels of
information, thereby increasing the complexity of the design process.
Please download the online template, which includes the standard text which must appear in
each of the final layouts. Use a separate template file for each of the exercises, and be sure to
label them properly with your name and the activity illustrated.
There are five exercises to complete:
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Single Font, No Change in Point Size: you must create a layout that
emphasizes the appropriate hierarchy of information without changing the
font style, weight, or size. You may only change the position and orientation
of the text.
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Single Font, Variable Point Size: you may only adjust the point size,
position, and orientation of the text in order to reinforce the hierarchy.
Single Font, Variable Weight: the only variable which may be altered is the
weight of the text.
Single Font, Variable Style: you may only adjust the style of the text
(including weight, italic, oblique, etc.).
Any Combination: for this exercise, all restrictions are lifted. You may use
as many fonts, sizes, weights, styles and positions as you wish. However,
you should keep simplicity, order, and the previous lessons and experiments
in mind when approaching this task.
In all of the above exercises, position, orientation and justification are completely open. Feel free
to run the text vertically, horizontally, diagonally, cascading, or in any combination of these
options. Bear in mind that legibility will be one consideration in evaluating your compositions.
Save each file separately as a *.pdf, and make 8.5”x11” black and white prints on cardstock or
photo paper for each composition.
Deliverables:
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five 8.5”x11” black and white prints on cardstock or photo paper (labeled
appropriately)
three *.pdf files labeled with your name and the assignment number (i.e.
firstname.lastname_4a.pdf, firstname.lastname_4b.pdf,
firstname.lastname_4c.pdf, firstname.lastname_4d.pdf,
firstname.lastname_4e.pdf)
please be prepared to present your work during the following class session
Evaluation will be based upon the following criteria:
-
Has the student followed the assignment directions?
Do the compositions reflect an understanding of the principles explored in the
class sessions?
Is there an interesting or innovative approach to the compositions?
Do the separate compositions relate to one another on the page in a pleasing
manner?
Did the student invest an adequate level of time and energy in completing
this assignment?
Assignment #5: Found Type
Value: 10%
Duration: Two Weeks
Due: October 16 (Section B), October 17 (Section A)
This project seeks to examine the idiosyncratic forms of typography that exist within an urban
landscape. Prior to digital technologies, most signs were created by hand, and often reflected the
individual style of the sign painter. From these hand-made samples, many typefaces have been
derived. While authentic, vintage signs are slowly disappearing from the landscape, other forms
of (often industrial) type have emerged—neon sandwich boards, fast-food signage, vinyl adhesive
lettering, etc.
During a field trip excursion, you will be asked to photograph and document forms of found type,
along with textures and surfaces. These elements will form the basis for two poster compositions
that will attempt to illustrate your personal experience of the landscape—a reflection on culture,
class, societal issues, commercial culture, or a sense of ambiguity/ambivalence.
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Each of the posters must utilize at least 2 images from the field trip. You must also provide a
headline or display text capturing the essence of the piece, as well as some body text elaborating
on your personal reflection. Please include your name as a subtle design credit, and feel free to
integrate other graphical sources (dingbats, vector artwork, silhouettes, etc.). Consider this as an
editorial piece combining raw pictorial images with more crisp, contrasting elements.
The posters are companion pieces (diptych), and should, therefore, utilize similar colour
schemes, typefaces, etc. You may wish to use the diptych format to compare and contrast
feelings or ideologies, but there should still be a sense of visual cohesion within the grouping.
Deliverables:
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two 11”x17” colour prints on cardstock or photo paper (the Copy Centre on
level 6 has ledger size cardstock available for printing)
two *.pdf files labeled with your name and the assignment number (i.e.
firstname.lastname_5a.pdf, firstname.lastname_5b.pdf)
please be prepared to present your work during the class session
Evaluation will be based upon the following criteria:
-
Has the student followed the assignment directions?
Do the compositions reflect an understanding of the principles explored in the
class sessions?
Is there an interesting or innovative approach to the compositions?
Has the student clearly identified a message/theme, and is this readily
understandable to viewers?
Do the separate compositions relate to one another in a pleasing manner?
Did the student invest an adequate level of time and energy in completing
this assignment?
Assignment #6: Visual Onomatopoeia
Value: 10%
Duration: One Week
Due: October 23 (Section B), October 24 (Section A)
The concept behind this assignment is to merge written and visual languages. In the English
language, onomatopoeia is a word that, when pronounced, sounds like the concept it represents.
For example, the word “splash” imitates the sound produced by a solid object dropped into a
liquid. This project skews the idea away from sound similarities to visual similarities.
You will initially select an adjective or adverb to illustrate as a logotype. Through modification of
existing typefaces and the inclusion of additional graphics, you will attempt to create an image
that can be read either visually or phonetically. Think about the associations created by your
selected word. What qualities does this word posses, and are there any existing/standard
graphical representations for this concept? What typeface best represents the idea—extremely
light and airy or ultra-black and condensed? Is this a bold image to be represented in high
contrast, or something which should virtually blend into the background?
You might consider shaping the text into a larger form, or extending parts of the letterforms out
into recognizable shapes. Can the individual letters be stacked, overlapped, or otherwise
separated without losing the overall legibility? Will the image be rendered in solid black, grey
tones, gradients, outlines, or patterns?
Please use the online template to format your presentation as an 11”x17” black and white or
colour print. Please appropriately label the work with your name, a title, and short description.
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Deliverables:
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11”x17” black and white or colour print on cardstock or photo paper (the Copy
Centre on level 6 has ledger size cardstock available for printing)
*.pdf file labeled with your name and the assignment number (i.e.
firstname.lastname_6.pdf)
please be prepared to present your work during the class session
Evaluation will be based upon the following criteria:
-
Has the student followed the assignment directions?
Do the compositions reflect an understanding of the principles explored in the
class sessions?
Is there an interesting or innovative approach to the compositions?
Has the student clearly identified a message/theme, and is this readily
understandable to viewers?
Is there an attention to detail and level of precision in the graphical artwork?
Did the student invest an adequate level of time and energy in completing
this assignment?
Assignment #7: Type/Image Homage
Value: 10%
Duration: Two Weeks
Due: November 6 (Section B), November 7 (Section A)
This project involves both research and production aspects. To begin, you are asked to select an
influential 20th/21st century graphic designer whose style you admire. If you need suggestions,
please ask me for possible resources. You will then conduct a reasonable amount of research on
the selected individual, sourcing biographical information, major projects, and examples of their
work.
Having located sufficient resources, you will design a poster advertising a fictional retrospective
exhibition of the designer’s work. Carefully deconstruct representative samples of his/her
practice, and develop a composition that seamlessly integrates with the designer’s personal style.
If you will be integrating photographic imagery, it must be from original sources. You may borrow
or adapt samples of the designer’s work to use in the overall scheme (logos, graphics, type
samples, etc.), but be sure to provide credits in your documentation. The poster should include,
at a minimum, the designer’s name, the title of the exhibition, the location/address, dates/duration
of the show, a brief description (1-2 sentences), and your design credit.
In addition to the poster, you will produce a brief written summary of the designer’s legacy and
achievements, as well as a personal reflection on why you appreciate their work. The final
section will provide an overview of how you have attempted to emulate elements of the designer’s
personal style. Be sure to include sample images of the designer’s work to illustrate your paper.
The final length should be approximately 750 words.
Deliverables:
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11”x17” colour print on cardstock or photo paper (the Copy Centre on
level 6 has ledger size cardstock available for printing)
*.pdf file labeled with your name and the assignment number (i.e.
firstname.lastname_7.pdf)
written research and reflective paper summarizing the designer’s achievents,
your interest in him/her, and how you have tried to emulate their style (approx.
750 words, with illustrations).
please be prepared to present your work during the class session
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Evaluation will be based upon the following criteria:
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Has the student followed the assignment directions?
Does the poster reflect an understanding of the principles explored in the
class sessions?
Is there an interesting or innovative approach to the design?
Is there an attention to detail and level of precision in the graphical artwork?
Is the information legible and appropriate?
Does the research paper explore the designer’s work in more than a
superficial way?
Did the student invest an adequate level of time and energy in completing
this assignment?
Assignment #8: Architectural Deconstruction
Value: 10%
Duration: One Week
Due: November 15 (Section B), November 16 (Section A)
This project takes as its basis an important or influential architectural structure, from which you
will derive an abstracted aesthetic design. As with the previous assignment, you will need to do a
small amount of research to locate images and details such as the proper building name, the
architect, the year of completion, and a few descriptive notes.
You will be creating a poster that celebrates this structure, but the graphic design need not
emulate the time period in which it was built. You may choose to represent the building in its
entirety, or simply use a very characteristic detail. Alternatively, you may break down the
structure into a series of details, which can then be reorganized into a new configuration.
Whatever approach you adopt, the final result should bear a resemblance to the building’s
external appearance.
Begin with a selected photo(s), and begin tracing out the forms in Illustrator. Begin by simplifying
details, discarding unnecessary information, and cropping /rotating the image. You may wish to
flatten the structure into pure planes and lines, or attempt to simulate 3D areas. You might also
consider taking an architectural ornament or detail and create a pattern. Consider paring down
the range of colours to about 3 solids (plus black and white) to create a much bolder impact.
Think about contrast, tension, and scale when arranging the text and supporting elements.
The poster must include the building and architect names, the year of construction, your design
credit, and a brief 2-3 sentence description of its significance. You must also be conscious about
parallels and alignments when orienting the individual graphic elements.
Deliverables:
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11”x17” colour print on cardstock or photo paper (the Copy Centre on
level 6 has ledger size cardstock available for printing)
*.pdf file labeled with your name and the assignment number (i.e.
firstname.lastname_8.pdf)
please be prepared to present your work during the class session
Evaluation will be based upon the following criteria:
-
Has the student followed the assignment directions?
Does the poster reflect an understanding of the principles explored in the
class sessions?
Is there an interesting or innovative approach to the design?
Is there an attention to detail and level of precision in the graphical artwork?
Is the information legible and appropriate?
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-
Does the design faithfully reflect the design of the building?
Did the student invest an adequate level of time and energy in completing
this assignment?
Assignment #9: Visual Culture Essay
Value: 20%
Duration: Two Weeks
Due: November 27 (Section B), November 28 (Section A)
Format: Pairs
The purpose of this exercise is to design a series of layouts that maintain a consistent graphic
approach, based upon a selected subculture. You and a teammate will begin by researching a
specific subculture from any given era in modern times to discover their values, beliefs and the
types of iconography employed in their arts, media, and publications. For example, the grunge
movement of the early 1990s favoured anti-establishment values, which was reflected in their
imagery—poorly photocopied collages, deconstructed typefaces, Courier, layered graphics, and
rough-hewn textures. Contrast this with the mods of the 1960s, whose designs employed sleek,
minimal compositions with bright colours and optical patterns.
Having selected your subcultural group, you will create three double-page magazine spreads
introducing, describing, or illustrating their shared lifestyle and values. The body text content may
be Greeked, but the headlines and captions should be relevant to this subculture. If photography
is to be utilized, it must be from original sources, and/or you must provide appropriate credits in
the layout. The colour scheme, layout, typography, and graphical elements must immediately
reflect your research on the given subculture. You must also integrate page numbers, the
magazine title, and the publication date on each page. If you are at a loss for examples, please
ask me for references and resources.
Deliverables:
-
three 11”x17” colour prints on cardstock or photo paper (the Copy Centre on
level 6 has ledger size cardstock available for printing)
three *.pdf files labeled with your last names and the assignment number (i.e.
lastname.lastname_9.pdf)
please be prepared to present your work during the class session
Evaluation will be based upon the following criteria:
-
Have the students followed the assignment directions?
Do the posters reflect an understanding of the principles explored in the class
sessions?
Is there an interesting or innovative approach to the designs?
Is there an attention to detail and level of precision in the graphical artwork?
Is the information legible and appropriate?
Do the designs faithfully reflect the chosen subculture?
Are the layouts consistent?
Did the students invest an adequate level of time and energy in completing
this assignment?
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Assignment #10: Type in Motion
Value: 15%
Duration: Two Weeks
Due: December 6 (Section B), December 7 (Section A)
Format: Pairs
Working with your partner from the previous assignment, you will extend the subcultural
representation to a motion graphics assignment. Utilizing the research, photos, and graphics
from the previous exercise, you will create a 30-second teaser that introduces or promotes the
given subculture.
You may begin by sourcing appropriate music for the soundtrack, selecting quotations from key
figures in the subculture, or by generating a list of keywords/phrases. Think of this as a small
music video or commercial, without an obvious product or sales-pitch. There should be a
significant amount of animated text, and if you choose to integrate video elements, it cannot
comprise more than 25% of the overall piece. Use silhouettes, shapes, forms, patterns, gradients
and other effects to achieve a mood and feeling appropriate to your subculture. Will you integrate
quick cuts or slow fades? Will the graphics be high-contrast with bright colours, or low-contrast
with soft, neutral tones? Think about how the text and images will layer and interact with one
another. Should the screen texture be very complex, or more minimal?
For this exercise, we will be using Adobe Premiere Pro. This is not an ideal application for this
project, but it will play into the skills acquired in NMED 1000.
Deliverables:
-
DVD quality *.avi video file, length approximately 30 seconds
720x480 size, Microsoft avi compression, DVD audio
name the file with your last names and the assignment number (i.e.
lastname.lastname_10.avi)
please be prepared to present your work during the class session
Evaluation will be based upon the following criteria:
-
Have the students followed the assignment directions?
Does the video reflect an understanding of the principles explored in the
class sessions?
Is there an interesting or innovative approach to the project?
Is there an attention to detail and level of precision in the piece?
Does the design faithfully reflect the chosen subculture?
Did the students invest an adequate level of time and energy in completing
this assignment?
Evaluation Scale
The following scale range will be used in all course assessments:
A+
A
AB+
B
BC+
C
90%-100%
85% - 89%
80% - 84%
77% - 79%
74% - 76%
70% - 73%
67% - 69%
64% - 66%
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CD+
D
DF
60% - 63%
57% - 59%
54% - 56%
50% - 53%
0% - 49%
Evaluation Criteria
In creative disciplines, the evaluation process is not always transparent or clearly stated.
Multiple-choice and automated tests are easy to administer, but they cannot replicate the
qualitative assessment necessary to judge a work of art or design. It is the instructor’s role to
determine the relative merit based upon multiple factors – some technical, some ethical, and
others, aesthetic:
-
Does the project meet the requirements, as stated in Assignment criteria?
How much effort or engagement was involved in completing the project?
Does the final work thoughtfully or provocatively comment on the chosen subject?
Has the student progressed technically or conceptually in the development process?
Does the work demonstrate an understanding of the creative and compositional
principles discussed in the class sessions?
Did the student make incremental progress on a week-to-week basis?
Does the project demonstrate innovation, challenge, or take risks?
Has the student exceeded the instructor’s expectations?
How closely does the work mirror professional/industry standards?
Having considered these factors, among others, the instructor must determine where the project
should be placed within a given range for each criteria. The cumulative assessment of these
factors is translated into a letter grade. For further granularity, please review the following
general grade range descriptions:
D-range:
C-range:
The work is unsatisfactory. The student has unsuccessfully completed the
project and/or has met only the most basic requirements. The work may exhibit
only a passing resemblance to the criteria laid out for the project. The student
may have diverged from the criteria without previous discussion with the
instructor. The student may have submitted a project from another course or
situation, and claimed it to be new work. The work is rife with mistakes, or is
possibly unplayable/unreadable without expert technical intervention and/or a
very forgiving eye. The work is incoherent or does not successfully or
meaningfully communicate a concept or theme. The student is not progressing in
their development. The work is below average in the opinion of the instructor.
The work is acceptable. The student has made an earnest attempt to fulfill the
criteria laid out for the project. The student is not progressing well in their
development. The student has not taken sufficient time to internalize,
understand, own, and interpret the criteria for the project. The student may be
unclear on the criteria for the project and has not asked for clarification from
colleagues or the instructor. The student may have diverged substantially from
the criteria without previous consultation with the instructor. The student has not
referenced secondary sources of information or experience outside the
classroom. The work contains too many technical errors – i.e. poor transitions,
inappropriate pacing or conceptual structure, failure to acknowledge quoted
material, scripting errors, audio problems, grammatical or spelling mistakes, too
short or substantially too long. The work is average and acceptable in the
opinion of the instructor.
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B-range:
The work is good. The student has made an earnest attempt to fulfill the criteria
laid out for the project. The student is progressing in their development. The
student has taken sufficient time to internalize, understand, own, and interpret
the criteria for the project, with notable success. The student may have
referenced a few secondary sources of information or experience in an
interesting way. The student’s interpretation of the criteria may be somewhat
lacking. The interpretation may lack sufficient personal voice or originality; it may
be unsubtle. The work may experiment earnestly without huge success. The
student may have diverged slightly from the criteria without previous consultation
with the instructor. The work may contain a few technical errors – i.e. poor
transitions, inappropriate pacing or conceptual structure, failure to acknowledge
quoted material, scripting errors, audio problems, grammatical or spelling
mistakes, too short or substantially too long. The work is generally good in the
opinion of the instructor.
A-range:
The work is excellent. The student has fulfilled the criteria laid out for the project
through active engagement while demonstrating a personal voice. The student
has referenced many secondary sources of information or experience in an
interesting way. The student has internalized all project criteria and offers
supplementary ideas that support the criteria, or skillfully deconstructs the
established criteria in a creative way. The student is progressing at an aboveaverage rate. The project is at least almost totally free of technical errors. The
project probably demonstrates earnest and successful experimentation.
A+:
The work is outstanding. The student has fulfilled all criteria worthy of an A mark
and has excelled beyond the instructor’s expectations. The work approaches or
attains the capacity of a professional in the field. The work approaches suitability
for publication or professional broadcast. The work represents substantial,
innovative experimentation.
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