Monday, August 26, 2013

Design Time Out: Sigur Rós: Dauðalogn

Sigur Rós: Dauðalogn from Sigur Rós Valtari Mystery Films on Vimeo.

MadMen: A Lesson from Don

2012 Art Basel: Design as Art

Keith Haring: A lucky look at his original journals and sketches


www.keithharing.tumblr.com

One of the most prolific 20th century artist whose work continues to inspire so many.
Finally we are able to leaf through his private journals that I believe to be some of his most intimate and thoughtful work as he stages work for his next projects or indicates some introspection about his past projects. Just wonderful to see.
I salute each of you who are writing in your journals, your diaries, your sketchbooks and your on line private blogs.





Journals, Sketchbooks and Designbooks


The Fruitmarket Gallery is proud to present this exhibition of the work of Dieter Roth (1930-1998), one of late-twentieth-century art's major figures. Roth was an artist of astonishing breadth and diversity, producing books, graphics, drawings, paintings, sculptures, assemblages, and installation works involving video, sounds, and recordings. He was also a composer, musician, poet, and writer.
Art and life for Roth flowed readily into each other, and much of the material for his artistic output came from his everyday life.



This exhibition is the first to focus on the theme of the diary in Roth's work. Roth kept a diary throughout his life, and saw all art-making as a form of diary keeping. His diaries were a space to record appointments, addresses, lists, and deadlines but also ideas, drawings, photographs, and poems. They teem with graphic exuberance, and proved a rich source for his work. The Fruitmarket Gallery is fortunate in being able to show Roth's diaries to the public for the first time, as well as the hand-produced, photocopied 'copybooks' he made from them to sell to favored collectors and friends, and two major installation works.

Courtesy: http://fruitmarket.co.uk/

Julian Schnabel: Art and Design

A Conversation with Julian Schnabel from Alex Dunn - Editor & Producer on Vimeo.

A Conversation with Julian Schnabel from You Know on Vimeo.


A Conversation with Julian Schnabel from Alex Dunn - Editor & Producer on Vimeo.

The american artist Julian Schnabel became famous in the early 1980s for his plate paintings. 
He also made a name for himself as a director and screenplay writer with his first film, which was about his friend and fellow artist, "Jean-Michel Basquiat" (1996) and his second film, "Before Night Falls". He has exhibited in all the world's greatest museums and his works can be found in outstanding public and private collections.

In this short Schnabel talkes about his series of over painted Polaroids. The original Polaroids Schnabel used a huge, spectacular 20 x 24-inch Polaroid camera on wheels dating from the 1970s to create unusually large-format images (51 x 61 cm) which are now exhibited at the NRW-Forum in Düsseldorf (30.05.-11.07).

Institut für Kunstdokumentation und Szenografie
A film by Ralph Goertz
© IKS/Ralph Goertz 2010
music by Julian Schnabel/used by permission I recently purchased two prints by Julian Schnabel when I was in London. They are fantastic and huge prints (signed and numbered.) I wanted to share them with you.

I have always loved how he used very traditional methods of painting or creating artwork and then 
he would go into his jar of paintbrushes and create typography that was unique to his own handwriting. It is a mix of art and type and image for me. 


Two Typefaces Walk Into A Bar....


So.....Two Typefaces walk into a bar....
Remember that experiment last fall in Advanced Typography?

Well, someone has gone and done a Typeface Dating Site. Yeap.

check this site out. It's pretty cool.

Sunday, August 25, 2013

Books on Typography You Should Know





Books on typography you should know:

Typography for the people:
Hand-painted signs from Around the world
Daniel bellon and Klaus Bellon
How books comes with w/CD

Fly By Night :The new art of the club flyer
Craig Mccarthy
Thames and Hudson

Music Graphics:
A compilation of packaging, posters, and other sound solutions
Stoltze Design

The Big Book of Green Design
Suzanna stephens and Anthony stephens

Another Self indulgent Design Book
Sagmeister
Abrams

Things I have learned so far in my life
Sagmeister
Abrams

Motion by Design
Spencer Drate David Robbin & Judith Salavetz
Forward by Kyle Cooper

Handwritten : expressive lettering in the digital age
Steven heler, mirko LLic
Thames and Hudson

Choosing and Using Paper for Great Graphic Design
Mark hampsire and keith Stephenson
Rotovision

New Typographic Design
Roger Fawcett-tang

Street logos
Tristan Manco

Dirty fingernails:
One of a kind collection of graphics uniquely designed by hand.
John Foster
Rockport

The Designer’s Graphic Stew
Visual ingredients, techniques, and layout recipies for graphic designers
Timothy samara

The Graphic Designers guide to pricing, estimating and budgeting
Theo Stephan Williams

Box. Bottle. bag
The worlds best packaging design from dieline.com
Andrew Gibbs

Hand job: The catalog of type
Michael Perry

Advertising Now.
Tv Commercials
Taschen
Julius Wiedemann
Comes with CD

Advertising
Advertising :concept and copy
George Felton

Three Films You Need to See About Typography



Typeface: The Movie

In rural Wisconsin, a lone employee waits in a cavernous old museum for visitors to come. A few individuals straggle in every few days and then, come Friday, the museum fills with life. Machines hum, presses print, artists buzz about. One weekend each month, the quiet of Two Rivers is interrupted as carloads of artisans drive in from across the Midwest. The place comes alive as printmaking workshops led by, and filled with, some of the nation's top design talent descend on the sleepy enclave.

In a time when people can carry computers in their pockets and watch TV while walking down the street, Typeface dares to explore the twilight of an analog craft that is freshly inspiring artists in a digital age. The Hamilton Wood Type Museum in Two Rivers, WI personifies cultural preservation, rural re-birth and the lineage of American graphic design. At Hamilton, international artisans meet retired craftsmen and together navigate the convergence of modern design and traditional technique. But the Museum¹s days may be numbered. What is the responsibility of artists and historians to preserve a dying craft? How can rural towns survive in a shifting industrial marketplace where big-box retailers are king.



 

Linotype: The Movie 

Linotype is a full-feature documentary featuring the Linotype casting machine. The film features the charming and emotional story of the people connected and impacted by the Linotype machine. The documentary also features the struggle of the highly-skilled operators of the machine against the lack of interest on the machine. It’s a melancholic yet enlightening film about preserving the past and looking forward to a better future.





 Upside Dow, Left to Right: The Movie



The film Upside Down, Left to Right is a short documentary about letterpress printing. The short documentary focuses on how the letterpress works and the inspiration it gives to its practitioners. It provides an insight on the complicated yet calming process of creating prints using the letterpress process. The film features Paul Collier of Plymouth University.

Jack Pierson: Photographer who uses large pieces of type in his work

courtesy of artist Jack Pierson "Stay" www.tumblr.com/tagged/jack-pierson

The Official GSU/Welch School of Art & Design Logo

Every time any printed document, website, class syllabus or anything related to the Welch School of Art & Design (that includes organizations like the Design Club) the official GSU/Welch logo combo should be used. This is so that the art school begins to build the brand brick by brick into the psyche of the students and public.

This is our brand that matches what the rest of the University is doing department by department.

Tuesday, August 20, 2013

Paul Rand Exhibition at MODA

Museum of Design Atlanta (MODA)

Sunday, October 27, 2013 - Sunday, January 26, 2014

American designer Paul Rand (1914 – 1996) defined design as a unified activity, based on analysis and governed by imagination. Throughout his lengthy career – in which he created some of world’s most successful and recognizable logos such as those for IBM, Westinghouse, UPS, and ABC – his design work was governed by fundamental principles that he identified in his writings, such as beauty, intelligence, repetition, symbol, and humor. Today, designers across the world derive influence and inspiration from Rand’s body of work, acknowledging that he set new standards for graphic design.
Paul Rand: Defining Design will examine the trajectory of Rand’s career in an entirely new way, juxtaposing his iconic designs with discussion of the design principles by which they were informed. In addition, short films, interviews, and examples of Rand’s persuasive writings will provide further illuminate this legendary designer’s thoughts on the design process.
The exhibition is curated by Daniel Lewandowski, creator of the website www.Paul-Rand.com.

The Official 2013 Advanced Typography Syllabus


GrD 4020 ADVANCED TYPOGRAPHY                                                    FALL 2013
CRN #84965
Stan Anderson, Associate Professor of Graphic Design
Tuesday / Thursday 2:30-5:20p
3 Credit Hours
Office 362 / Hours 10-11:00a T/T (or by appointment)
stananderson@gsu.edu

http://advtypography.blogspot.com

OFFICIAL CATALOG DESCRIPTION
See it. Believe it. Achieve it. Don’t make excuses.

Advanced Typographic Design. Prerequisites: GrD 3200 with grade of C or higher, and consent of graphic design area coordinator or instructor. Advanced concepts in typographic design within a studio problem-solving format; advanced digital techniques, formal, and experimental applications of typography. Lab Fee: $20.00.
3.000 Credit Hours

The COURSE OBJECTIVES
99% is Problem Solving. 1% is just showing up.

Advanced Typography combines the art, the technical skills and the creative concepts of designing visual communication. Advanced concepts in typographic design will be examined within a studio problem-solving format; emphasizing the conceptual development of hand-rendered, collaged and advanced digital techniques through formal and experimental type applications. This class will focus on the idea of “Type as Image” and the numerous incarnations in which type and typefaces exist in contemporary and historical graphic design.
There will be numerous "in-class" assignments much like a drawing class might incorporate in their own discipline. These “in-class” projects will be due at the end of the class and will become an important part of our typographical experience. There will also be several outside class assignments that will continue to serve as 'guideposts' for your experience during the semester. There will also be a variety of blog assignments for everyone to complete. Everyone is expected to participate.

The DESIGN ASSIGNMENTS
Work Hard. Play Hard. Serious Fun.

Each assignment is presented in a methodical and problem-solving format thereby allowing each student to identify and complete the assignment with a sense of professionalism and focus. Assignments focus on certain basic developments akin to graphic design and art in general. There will be a wide variety of visual problem-solving exercises that will encourage experimentation and individual creativity. Research in graphic design outside the classroom is also encouraged as part of the whole creative process of learning. Learning how to discuss your projects, from concept to completion inside a classroom prepares you for when you are called to do the same in a professional environment (internships, freelance and fulltime clients.)

The CLASS PARTICIPATION
Do what you say and say what you mean.

When you are in the design studio during the class period it is expected that you be working on the projects from that class…not another class. Even if you have completed the project for the class you are in you should still be investigating and researching for that class and what might be ahead. You can always do revisions as well.

Absolutely NO work from any other class will be allowed to take place inside the classroom.

If you are caught working on projects from another class or Instructor you will be asked to leave and it will count as an absence. No exceptions. This is a black and white issue as it has been abused in the past by past design majors and unfortunately for each of you, it will not be tolerated further.

*Please do not schedule Club/Fraternity/Sorority/Band/Sports/Internships/Meeting with Instructors during the hours of this class.


The DESIGN DEADLINES
Communication is Key.

Each assignment will have the sufficient time allotment in order to compete the work. A completion date will be announced at the beginning of each assignment. *Any work that is NOT completed by the announced deadline and discussed at the project critique will receive the letter grade of "F." Remember you are graphic design majors now and should be taken more seriously. Again, any work that is NOT discussed during a formal, announced critique will not be considered “completed” by the Instructor and will receive a failing grade. You cannot make this assignment up. Everyone is expected to participate in all the announced critiques unless the Professor approves of your absence prior to the critique.

Unexcused absences and habitual tardiness (arriving late or leaving early to class) is always evidence of someone who is not particularly focused on the classroom learning experience. Students are allowed 3 absences during the semester. More than 3 absences can result in the student being dropped from the course and/or having the grade for the semester lowered by the Professor. However, the Professor will issue an email and verbal warning before dropping any student from enrollment in the class after the 3rd absence.

The SEMESTER CALENDAR

Live in the moment and plan for tomorrow.

Each semester there will be a working calendar to assist in guiding you as you work towards each deadline throughout the semester. Please remember that this “working calendar” is one that might change as the semester progresses for various reasons. The Instructor may find it necessary to completely change a scheduled project if necessary. These “working calendars” should help you in developing better time management. Everyone will be notified in plenty of time when a change occurs in the calendar.

The DESIGN CRITIQUES
Lead, Follow or Get out of the Way.

Critiques are scheduled at an appropriate time when student’s work is complete. Adequate time is given in order to complete the work. Each designer is expected to discuss his or her work with professionalism and to present their work as if they were doing so in front of the client. Each designer must learn to sell his or her projects by verbally and visually demonstrating strengths in this visual communication field. If you lack confidence in discussing your work then you need to practice prior to your critique presentation.

The TIME MANAGEMENT

Time Flies When You’re Having Fun.

Perhaps the biggest problem with most creative individuals is how to manage time during any project. Bad habits that exist now will only follow you into your professional life and can certainly deter success for you later with clients. Be aware of how you work, where you work and what kind of research you put into your work. Plan ahead. Plan for technical problems that may arise in the last few hours of any project. Learn to back-up your work on a daily or weekly basis. Try to finish a project 24-hours ahead of its deadline so you can actually take a deep breathe and review it with “new eyes” prior to any presentation/critique. Time management can be your biggest friend or your worst enemy.

The DESIGN BLOGS
Facebook it, Twitter it, Blog it.

These web blogs belong to you but with focus on this particular class. Please refrain from putting up information that is non-related to the class. No personal information is allowed on the blogs. If you already have a website prior to this class, then you should prepare yourself to create a specific place where you will put work for this course. You may wish to create a new site just for this class. Other outside academic work for other classes is permitted on your site; however, this particular site belongs ONLY to this course and cannot be used in conjunction with other classes or instructors. Please adhere to all rules and etiquette with regards to use of images on your site. Please always give credit and respect to those you include on your site. No profanity or any adult content permitted on these course blogs. This is part of your academic experience. The blogs and blog assignments count towards your final grade.

WHAT IS EXPECTED OF YOU

It’s Not Where You Start, It’s Where You Finish.

Each of you have literally been hand-selected to become the graduating class of graphic designers in 2013. You should be proud of your achievement in this competitive selection process. But now the work really begins as a major in graphic design. There were no mistakes made during this selection process. Each design major starts equally on a level creative field. Everyone is given the same opportunities to succeed or to fail. It should be taken seriously but each design major should also have fun during the process. No excuses and no drama, please.

As you know many students applied to the Graphic Design program and it was only through considerable conversations and reviews by your Instructors/Professors that each of you were selected as a graphic design major. Each of you possesses strengths that will serve collectively as inspiration to others in the group. Much of being a graphic designer is in sharing ideas and information with others throughout your tenure as a student at GSU. I encourage each of you to support and respect one another while focusing on honesty and celebrating the spirit of individualism and professionalism. You truly only have “once chance for create a first impression” with a client and your peers. Be open to suggestions, try to take individual criticisms with the spirit in which it is given and learn to share your ideas (success and failures) with others in the classroom. This is a very rich time in your creative life so embrace the entire experience. Learning to stay creative is every designer’s goal. It is not exclusive to just students as it pertains to every professional who chooses to create graphic design each and every day. We are all in this together moving forward.

The most successful classes that have graduate from GSU during my tenure have been those that created a sincere kinship between one another. This kinship and allegiance to each other during your undergraduate experience at GSU should carry over into your professional work experience after graduation. It will become an invaluable asset as you seek employment and creative projects in the future. You are creating a network of support at GSU that will hopefully support you for many years to come. Live the life you are so meant to live without apology and without fear.

I will always try to be available to you when questions or problems arise during the semester.

SUGGESTED TEXTBOOKS
All that’s fit to print.

Typography Essentials: 100 Design Principles for Working with Type (Hardcover), Ina Saltz
208 pages, Rockport Publishers (July 1, 2009)
# ISBN-10: 1592535232
# ISBN-13: 978-1592535231
-This book outlines and demonstrates basic type guidelines and rules through 100 entries, including choosing the typeface for the project, striving for rhythm and balance with type, combining typefaces, using special characters, and kerning and legibility. These essentials of type design are critical to the success of any job.

Getting it Right with Type: The Dos and Don'ts of Typography (Paperback) Victoria Squire
176 pages, Laurence King Publishers (February 1, 2007)
# ISBN-10: 1856694747
# ISBN-13: 978-1856694742
-Typography is no longer the specialist domain of the typesetter: these days anyone who uses a computer has access to a wide range of typefaces and effects. This book offers an introduction to the basics of typography, including choosing which typeface to use; adjusting letter-, line-, and word-spacing for improved legibility; understanding kerning and leading; and mastering typographic details, such as italics, punctuation, and line endings. The book is illustrated throughout with practical examples demonstrating good and bad solutions. There are tips for specific design tasks, such as letters, charts, tables, and design for the screen, and a glossary explaining typographic terms.


PLAGARISM
Don't Even Think About It!

You are a design major now and this chosen discipline comes with a large amount of responsibility to yourself and your work. All work must be created by yourself and no one else unless prior authorization from the Professor is given in writing. All design work not created by yourself (other resources) must be approved by the Professor.
Plagiarism is considered a serious offense at Georgia State University and any student participating in this offense will be subject to all the rules as listed by the University. If the words, images, concepts and such do not belong to you, do not use them. Only under special circumstances (authorized by the Professor) are you permitted to use images other than the ones you create. Don't even think of pulling images off the Internet or purchasing images through a stock photo house. All images must belong to you. The Professor may ask you to show evidence that all work belongs exclusively to you. The Design Police will come arrest you!
University Policy on Academic Honesty:
http://www2.gsu.edu/~wwwfhb/sec400.html#409

DISRUPTIVE POLICY

Act. Don’t Re-act.

Disruptive student behavior is student behavior in a classroom or other learning environment (to include both on and off-campus locations), which disrupts the educational process. Disruptive class* behavior for this purpose is defined by the instructor. Such behavior includes, but is not limited to, verbal or physical threats, repeated obscenities, unreasonable interference with class discussion, making/receiving personal phone calls, text messages or pages during class, excessive tardiness, leaving and entering class frequently in the absence of notice to instructor of illness or other extenuating circumstances, and persisting in disruptive personal conversations with other class members. For purposes of this policy, it may also be considered disruptive behavior for a student to exhibit threatening, intimidating, or other inappropriate behavior toward the instructor or classmates outside of class.
www2.gsu.edu/~wwwdos/wordFilesEtc/A_Disruptive%20student%20Conduct%20in%20the%20Classroom%20or%20Other%20Learning%20Environment.pdf


LEARNING OUTCOMES

To Be or Not to Be.

Course objectives that specify measurable and/or observable student learning outcomes. These learning outcomes should state course objectives in language that makes explicit the knowledge and skills students should have after completing the course. Consequently, these objectives may be quantitative or qualitative, as appropriate for the learning outcomes. The learning outcomes for general education courses are available at:
http://education.gsu.edu/ctl/outcomes/General_Education_Goals_2-04.htm


THE ATTENDANCE POLICY
Lead. Follow or Get Out of The Way.

This is important so ready it carefully and more than once:

Designers are allowed 3 absences. This includes arriving late or leaving early. No more than 3 absences during the semester unless approved by the Instructor prior to the class.  Class starts at 11am. You have no excuse to not be on time when it starts.
Class attendance is required. Each three (3) unexcused absences will result in the lowering of the final grade by one letter grade. Failure to come to class with adequate materials for producing work will result in a recorded absence for that day. Failure to arrive on time will be recorded as half an absence, so for example, arriving late to class twice during the term will be recorded as one absence. Similarly, leaving class early will be recorded as half an absence.  
Roll will be taken at the beginning of each class.  Information missed due to tardiness or absence will be the responsibility of the student.  Absences may be excused due to illness, religious holidays or other extreme circumstances as defined by the University, but it is the student’s responsibility to notify the instructor and to give a written excuse as required by the University.  Refer to the Undergraduate Catalog for other relevant information regarding absences. 
There will be no exceptions this year to this policy.


Design majors cannot make below a C on any of their major classes. It's the same as failing the class.
Students who do not pass this course are not permitted to sign up for a "Special Problems" class with the same Instructor's class they did not pass with the grade of a "C" or higher. You can request another Graphic Design full time Instructor to work with you to make up those 3 credit hours. It is of their choice whether they have the time to work with you independently. The Special Problems classes are not seen as classes to "make up work" from another class the student did not pass. These classes are on the books so that students can increase their productivity and explore new areas of their major....not to make up work from classes they did not pass.
It is encouraged that if any student does not pass a class in their selected major that they venture outside their own discipline (textiles, painting, printmaking, photography, etc.) to make up the needed hours to graduate.

Designers who fail to attend the first week of class will be dropped. Attendance during all classes is mandatory. This is your major and you should take it seriously.
*Read this section again so we are on the same page. You are responsible for any material missed due to any absence regardless of excused or not.

*No credit (“F”) will be given for work turned in after its due date or critique or client meeting.
Designers must provide an email address and phone number where you can be reached in the event that the instructor must contact you. Each designer will be responsible for checking email and course blog each day before class begins.

CELL PHONES, INTERNET, IPODS, TEXTING POLICY
Learn to listen as much as you learn to talk.

Absolutely NO ipods/music/earplugs can be used inside the studio. No phone calls or text messages inside the studio. Designers should turn off your cell phones prior to entering the studio. If you need to use the phone you can excuse yourself and leave the design studio.

You are not permitted to look at movie sites such as Hulu/YouTube in order to watch movies during studio hours. If designers need to research a client or project then you have permission to visit those sites. I have no problem asking any designer to leave studio for the day if designers are caught looking at websites that I considered non course-related. If design majors are asked to leave the studio then it will be counted as an absence for that day.

ACADEMIC HONESTY POLICY
You’re integrity is all you have.
Students are expected to act according to the highest ethical standards. Any and all cheating, including plagiarism, will not be tolerated and will result in an automatic grade of “F” for the course. Refer to http://www2.gsu.edu/~wwwfhb/sec409.html as well as the Faculty Affairs Handbook at http://www2.gsu.edu/~wwwfhb/sec409.html and the Undergraduate Catalog for specific regulations at http://www2.gsu.edu/~catalogs/2011-2012/undergraduate/1300/1380_academic_hon

Non-Discrimination Policy: Georgia State University stipulates that no person in the United States shall, on the grounds of race, color, sex, religion, creed, age, sexual orientation, gender, disability, or national origin, be excluded from employment or participation in, be denied the benefits of, or otherwise be subjected to discrimination under any program or activity conducted by Georgia State University or any of its several departments now in existence or hereafter established.

Disabilities: will only be accommodated with a letter from the Office of Disability Services. This letter is not retroactive.
Sexual Harassment Policy Statement: Sexual harassment of any member of the university community is prohibited and will subject the offender to possible disciplinary action after compliance with due process requirements. Sexual harassment is also prohibited by the University System of Georgia and by state and federal law

E-mail: Information regarding assignments, schedules, and other course-related matters will be sent to your GSU e-mail address. You are responsible for checking your GSU e-mail account. When e-mailing the instructor, you must include your first name, last name, and course TITLE in the subject line of your e-mail.
Academic Honesty: By taking this class you are consenting to the University’s policy on academic honesty published in The Undergraduate Co-curricular Affairs Handbook. Please read and the section on plagiarism and understand how it relates to images and words used in your class projects. If this is not clear, speak to instructor.

Non-Discrimination Policy: Georgia State University stipulates that no person in the United States shall, on the grounds of race, color, sex, religion, creed, age, sexual orientation, gender, disability, or national origin, be excluded from employment or participation in, be denied the benefits of, or otherwise be subjected to discrimination under any program or activity conducted by Georgia State University or any of its several departments now in existence or hereafter established.

Disabilities: will only be accommodated with a letter from the Office of Disability Services. This letter is not retroactive.
Sexual Harassment Policy Statement: Sexual harassment of any member of the university community is prohibited and will subject the offender to possible disciplinary action after compliance with due process requirements. Sexual harassment is also prohibited by the University System of Georgia and by state and federal law

E-mail: Information regarding assignments, schedules, and other course-related matters will be sent to your GSU e-mail address. You are responsible for checking your GSU e-mail account. When e-mailing the instructor, you must include your first name, last name, and course TITLE in the subject line of your e-mail.


CAMPUS SECURITY
Who you gonna call? Ghostbusters!”
Georgia State University and the Welch School of Art have installed punch code locks to make our buildings safer for students and faculty. You should treat any lab or studio under card lock as a secure space. As such, GSU and the Welch School ask that you abide by the following guidelines to help ensure the safety and wellbeing of everyone:
1. ALWAYS have your GSU ID card with you when on campus.
2. NEVER allow anyone to use your card. If a student or member of the staff or faculty is authorized to be in the area, their cards will give them access. If anyone asks you for your card, report the incident to campus police.
3. ALWAYS report suspicious people or activity to the faculty or graduate student in charge of the studio or lab. If, for any reason, there is no faculty or graduate student supervision, report suspicious people or activity to campus police. The number is 404-413-2100.
4. NEVER try to enter a studio or lab by “piggybacking” on someone else. For example: if someone is entering the lab or studio before you, do not try to get through the door while it is open. Wait for the door to close and then punch in again to gain entry. Similarly, do not allow someone else to come through with you. It can be tempting to hold the door open for someone whose hands are full with equipment, etc. This practice, however, is NOT SECURE and can put everyone at risk. Wanting to help is good, but be smart about it. If you want to help a classmate or friend who is carrying a lot of equipment you can, 1) gain entry to the lab or studio by yourself, 2) wait on the other side of the door for the other person to enter, and 3) help the person with her/his equipment.

These procedures are a course requirement and the consequences for violating them range from penalties to your course grade to expulsion from the class. Security is everyone’s concern. GSU and the Welch School of Art and Design thank you in advance for your cooperation.

DESIGN LAB POLICIES:                                                                                                    No food or drink inside the digital labs. You are required to purchase your own headphones or ear buds for use in the lab. Please check out the CMC website Policies:               http://www.cmc.gsu.edu/accesspolicies.html
ACCOMODATIONS OF DISABILITIES                                                                                  Students who wish to request accommodation for a disability may do so by registering with the Office of Disability Services. Visit http://www.gsu.edu/disability/ for more information. Students may only be accommodated upon issuance by the Office of Disability Services of a signed Accommodation Plan and are responsible for providing a copy of that plan to instructors of all classes in which accommodations are sought.
RETENTION OF WORK                                                                                                                The School of Art & Design has the right to retain any student project, whether it be for display, accreditation, documentation, or any other educational or legal purpose.
STUDENT EVALUATIONS                                                                                                          Your constructive assessment of this course plays an indispensable role in shaping education at Georgia State. Upon completing the course, please take time to fill out the online course evaluation.
 Subject to Change:                                                                                                                   The course syllabus provides a general plan for the course. With the exception of grading and attendance policies, deviations may be necessary and written notification of any changes will be provided.
Evaluation:                                                                                                                                All projects will be evaluated on a variety of factors … those include but are not limited to – did you meet the object set in the brief, did you implement your concept creatively, are your project boards professional in their quality, and was your oral presentation clear and effective. All project grades will be returned promptly and accompanied with constructive comments intended to help you in your next project. No project is ever perfect or without potential for further improvement.
Class participation, as evidenced through open discussion with classmates on assignments, presentations, etc. as well as in conversation during desk critiques, will determine if decimals, resulting from averages, will be rounded up to the next nearest point for final grades. Note that grades below a C are not acceptable in the School of Art and Design to fulfill the requirements of the course and thus require a retake of the course.
Deadlines:                                                                                                                              All students are required to meet course deadlines.  Late work will not be accepted unless there are extenuating circumstances, such as those mentioned above under the paragraph on attendance. Make-up arrangements are the responsibility of the student and should be made with the instructor. 
Lab Fee:                                                                                                                                           The Lab Fee for this course is $20.00 and it was assessed at registration.
Graphic Design Scholarships For Seniors:                                                                        The Susan Babush Design Scholarship is awarded each year during the spring semester to a deserving Junior design major who is moving into their Senior year at GSU.  Juniors do not apply for this scholarship but instead are nominated by their Instructors and then voted on by these Instructors.  The announcement for this scholarship is done each spring during the annual Student Juried Art Exhibition in the Welch Gallery.
The Andrew West Scholarship is another scholarship that is awarded to any art student in the Welch School of Art and Design. However, the Graphic Design department has had an incredible track record with our past students being awarded this scholarship. Again, a deserving graphic design student is nominated by the entire graphic design faculty and then that nominated student has to put together a portfolio of work to submit for this scholarship. The entire Welch art department faculty votes on this award.  Again, being nominated is an honor in itself because it singles you out among your peers as some of the best and most dedicated majors.
Tentative Fall 2013 Semester Assignments:
  1. Self Portrait
  2. Timeline
  3. Illustrative Alphabet Part 1
  4. Illustrative Alphabet Part II
  5. Wine/Olive Oil Redesign
    1. Bottle
    2. Packaging
  6. 13-Month Calendar
  7. Twelve Weeks to A Better You (Blog Assignments)
  8. A Block of Type: Celebrating Type/Poster Design
  9. In-Class Typographical Portrait
  10.  A Day in the Life Video
  11. In-Class Two Typefaces Walk into a Bar (Hybrid)
  12. The Typographical Cookbook
  13. Kinetic Typography
  14. TypePlace: An Interdisciplinary Type Design Collaboration Inspired by Architecture
  15. Letterform Poster: Silkscreen techniques and other manipulated oddities
  16. Type Club: When Type has an alter ego (Fight Club)

Welch School of Art & Design Grade Numerical Range Quality Points for GPA

A + 98-100 4.30
A 93-97 4.00
A- 90-92 3.70
B+ 87-89 3.30
B 83-86 3.00
B- 80-82 2.70
C+ 77-79 2.30 * Note there is no longer C-
C 70-76 2.00
D 60-69 1.00
F below 60 0.00
WF 0.00
IP 0.00

Assignment #1/ Part Two: The Timeline





PART TWO
The Personal Timeline via Information Design Project:

If you have ever had the pleasure to read “The Artist Way” by Julia Cameron then you will begin to
know that the direction you are heading creatively might be based on your past. I do believe that each of us have the ability to create our own reality. Both good and the bad. All of us determine our creative paths. You are creating an open-ended map of your past, present and future.

“See it. Believe it. Achieve it.”

By creating your own personal creative timeline via Information Design of how you got to where you are right now at this moment is critical to knowing where you might want to be in the future. This timeline should demonstrate (in any method you wish) how you got to where you are. It should reinforce all those “forks in the road” and those painful and ceremonial decisions you had to make to end up as a Junior in the Graphic Design Department at GSU. What will you do the next two years? Who will rise to the occasion and who will falter? Will you be a leader or a follower?  Everything is at play during this pivotal time in your life.

How will you link your past to your future?
Who will show up on your visual timeline/information design?
Will it be a historical timeline of names, places, dates or will it be more esoteric? (colors, shapes, etc.)
It is important to retrace your steps and those people and places and events that changed the course of your life.
Are you the master of your own path or have others guided and coached you?
You can depict percentages of time in areas that you might have spent drawing/listening to music/
Reading/sports/ etc. All this leads to your timeline and how you got here at this very minute.

Be creative.
Take this seriously because I have seen this type of project actually change artist for the better.
For every action, there is a reaction and you are a part of that kinetic energy that moves us through time and space.

Use any method you wish to complete this project
You might want to do a video, compose a song, create a printed document or a one act play just to name a few.

Presentation must be professional.









Weekly Blog Assignments: 12 Weeks to a Better You




Twelve Weekly Blog Assignments:
Each of you should start an online blog site/Tumblr/Website that will allow you to use it as a place to archive your own thoughts about design and becoming a designer. The experience will catalog and inform others in your class (and beyond the classroom) and it is in this sharing of information that each of you will hopefully become inspired by one another. There will be weekly assignments, much like a design journal or a sketchbook, that will allow you to work outside the classroom on projects that make you think about design and art. Each assignment is due by class time each Tuesday. If you get behind, you can catch up at any time but the entire 12-week assignments should be completed by the end of the semester for a final grade that will count 10% of your final semester grade.
If you want to see some of the most amazing blogs from past design students then take a look at these:
http://jonmhart.blogspot.com/  
http://debushhhh.blogspot.com/ 

Week One: Best of the Best
Select 5 pieces of your work from the 3000 courses (GrD3000/GrD3150/GrD3200) that you feel was responsible for your acceptance into the graphic design program.
Entry by: Tuesday September 03

Week Two: Good, Bad and the Ugly
Good and Bad Design. Show your favorite and least favorite Designs. It might be print, film, web, or mixed media. Give credit to the work.
Entry by: Tuesday September 10 


Week Three:Trends in Graphic Design
Find a variety of contemporary trends in graphic design that you have an opinion about.
This might be video, print, gaming, illustration, web, apps, multimedia and all faucets of visual communication that could even include stage design, costuming, exhibition design, costuming, photography.
Entry by: Tuesday September 17

Week Four: Art and Design Inspires
Find any type of artistic work that truly inspires you as an artist. There are no limits here.
Be specific. It might be work you aspire to or work you find confusing and yet appealing.
Entry by: Tuesday September 24

Week Five: Block of Type
“Block of Type” is a project that should encourage further investigation of type in a very limited area.This project in the past has had many names such as “Type Detective” and “Font Hunt.” You are expected to document an area (or a city block) or area thereabouts which is rich with unique and unusual typography. Type that has been forgotten or has become part of the environment or is required for the benefit of society. Nothing is off limits in this exercise. This blog assignment will turn into a project in class.
Entry by: Tuesday October 01

Week Six: Personal Workspace
Personal Workspace. A visual(s) of where you work when you leave the classroom. It might be a particular table in a coffee shop or in your room where you’re organized everything around you in order to be creative. It’s wherever you feel most comfortable designing. You should be able to talk about it in class. What time of day or night is your best time for designing and what is your process for creating innovative and fresh designs for yourself?
Entry by: Tuesday October 08

Week Seven:Inspired by Doing
Books, Periodicals, Printed materials that have you have recently read or investigated. Find one moment in those materials which might have inspired you to create a fresh new design for yourself.
Entry by: Tuesday October 15

Week Eight: Checking In
Complete this sentence:
“Each week I feel as though I must check in at/with…….”
This again relates to what are your habits as a designer. It might be someone, someplace or something that keeps you coming back for encouragement or gives your renewed energy to continue creating. Share those places you feel you must visit every week to stay in touch with art, design, business, etc.
Entry by: Tuesday October 22

Week Nine: Archived Images
Archiving Images on Flickr or Instagram or another photo library app or online property.
Start a Flickr or Instagram account (which is free) and start archiving images and work on this site suitable for future use in searching for a job or internship. Build weekly on this site and add additional photography and work each week. At the end of the semester we will examine the work together.
Entry by: Tuesday October 29

Week Ten: Best T-shirt Designs
Best in T-Shirt Design:
Put up some of your favorite T-Shirt designs from your own collection or those you find on the web or in print that you would consider works of art. (your definition of that.)
You might even want to create some designs for yourself with a specific.
Entry by: Tuesday November 05

Week Eleven: Paul Rand
The Museum of Design Atlanta (MODA) is staging a new exhibition entitled " Paul Rand: Defining Design" that opens on October 27, 2013. It is an important exhibition that each of you should go see and study. I would like for each of you to write a response to this exhibition in some form. It can be as a diary/journal entry or it can be created into a print piece or video piece. Again, you're the designer. Experience the exhibition in person and then respond to it purely through the eyes of a designer. Strengths, Likes, Dislikes, Observations. www.Paul-Rand.com.
Entry by: Tuesday November 12

Week Twelve: The Art of Collections
This is what I collect. Demonstrate items that you might collect.
It might be artwork (paintings/drawings) or other items that give you pleasure as a visual artist. Collecting work and living around that work is important to creating a “creative nest” where you can draw inspiration. 
Entry by: Tuesday November 19

Week Thirteen: Video Day in the Life
A Day in the Life
Armed with still camera or video camera or even a tape recorder, I want each of you to document a day in your life that is centered around being creative (every day should be, right?) You can document your personal experiences during that day as it relates to whom you are and what you aspire to be. Length and content is up to you. Presentation to class.
Entry by: Tuesday December 03