Our virtual/alternative crit/discussion space is 205s15.blogspot.
Assignment details and resources will continue to be posted at the course website, but changes/additions will be announced on the blog, as well. The instructor will gradually be tweaking the template.
|pasta package design|
|same brand, same pasta type at two price points, e.g., economy and gourmet/organic|
|time||assigned Wednesday 8 April
conclusion (final, two versions) Wednesday 29 April
package identifies, differentiates. tells a story/presents information in sequence (front to back, top, bottom, even inside). consideration of
engineering issues (fit it all in, elegantly)
Nutrition Facts are to be typeset according to FDA regulations; I find a guide here, under the heading
General. It is quite detailed.
Communication Arts, Design Annuals (usually September/October each year)
Bill Stewart, Packaging Design (2007)
Ladislav Sutnar, Package Design: The Force of Visual Selling (1953)
Packaging design issue of IdN International designers Network (2014-15)
Andrew Blauvelt, "2011 : Brand New Worlds," in Graphic Design: Now in Production (2011)
multiple visualizations / poster / book
|visualizations of a single tool; ultimately for presentation in a book, but one extracted/developed for poster
|time||assigned Monday 16 March
conclusion (tentatively) Monday 30 March
|objectives||consider the virtues of multiple visualizations of one device, to emphasize different facets, rather than pretend to capture every aspect in one uber-powerful design
consider that how to select and amplify, is to leave other things out
build a book whose design can equally accommodate all representations
Edward Tufte his various books, beginning with The Visual Display of Quantitative Information (2nd edition, 2001), Envisioning Information (1990), and Visual Explanations : Images and Quantities, Evidence and Narrative (1997).
See also James Elkins, who provides a taxonomy of visualization methods in his The Domain of Images (1999);
the visualizations discussed in James R. A. Davenport, his If We Assume blog, and
Nicholas Felton his
Feltron annual reports.
another reference —
visualizations of pasta
"...artist Serkan Ozkaya partnered with architect George L. Legendre to create One and Three Pasta, an installation of 92 pasta shapes, their mathematical formulae, and their 3D printed representations currently on display at Postmasters gallery in Tribeca."
first seen at ediblegeography.com, which is now inaccessible. but see @nicolatwilley
|time||assigned Wednesday 11 February
|objectives||bring book typography into the picture, including paragraph styles
making lemonade out of lemons (snow, snow days, missed classes, etc.)
This exercise is a departure from the beverly signage documentation exercise of recent semesters, although its aim is the same: develop a body of material, to be described (captions, etc.) and organized in a book, on a theme. For last year's exercise, people assembled a single library of all images, and could use others' images in addition to their own. This year, we stick to our own.
Images need not be photobased (although eventually whatever visual records are made (drawings, rubbings, etc.) will need to be digitized for use in the book.
The theme here is snow, broadly conceived. Objects found in or obscured by snow; kinds of snow; reasons one hates snow; staging/posing in snow; etc., all have been proposed.
What kind of information might you incorporate in this book? This will largely depend, of course, on your overall conception. Location (GPS, anyone?), time, date, weather and even humidity? technical description of the snow? (for this, see for example wikipedia on types of snow — crud, pillow drift, surface hoar, spring snow, yellow snow, zastrugi, etc.). One can easily imagine two or three categories of textual information, accompanying visuals.
vernacular signage/typography survey, done by Typography 1 class, Spring 2012.
State of the Union
|specs||quick project, change of pace and scale.
|time||assigned Monday 21 February
conclusion Wednesday 28 February (provisional)
work with controlled vocabulary of text.
put visualization to work.
Think about use of large digital archives. What tools are available? Are these tools accessible to us? Learnable? Usable?
What do posters do?
get first-glance attention sufficient for beholder to linger, read, consider.
|icon / symbols (expressive facets, one theme)|
|specs||one symbol or icon, in six different presentations (e.g., thick/thin, soft/hard, particular/general, pictorial/abstract, engineering/poetic). The six presentations might be found on the
periodic tablewe’ve been talking about.
|time||Wednesday 21 January
conclusion Wednesday 28 February (tentative)
|objectives||using limited number of Illustrator functions, develop a disciplined array of formal variations, expressing different facets/nuances of essentially the same
thingor visual cue.
Not five different tools (things), but rather five different facets of the same thing. Formal tweaks will provide the important clue. If for example
bells, one basic bell shape with six formal variants to express, for example, low and high notes, heaviness, brightness, a thunk (maybe cracked), etc.
Keep in mind the many kinds of
arrows shown in the Der Pfeil (1972), compiled by Anton Stankowski, Joachim Stankowski and Eugen Gombringer.
|Abstract Marks / developed, grouped, refined|
|specs||minimum 24 abstract marks, grouped (as if in a periodic table); from these, select six most-distinct examples for refinement.
all 24 (and six) are to be paired with a word.
|time||Wednesday 14 January
conclusion Wednesday 21 January (or Monday the 26th)
|objectives||Using limited number of Illustrator functions, develop a disciplined array of formal variations
organize these formally
consider potential relationships with words
this is a warm-up exercise to an icon design exercise
the InDesign grid math —
Create new document (tabloid, facing pages OFF).
Margins: 4p0 top, 7p6 bottom, 3p0 left, 3p0 right. (be sure to de-link the boxes, to accommodate the different sizes.)
Layout > Create guides > 4 columns 1p0 margin, 6 rows 1p0 margins. Fit guides to MARGIN, not page.
You should have 24 cells, each 14p3 square.
elaborations, objectives, expectations, criteria for credit
Project briefs, resources, examples of current and past student work.
tentative (for details on later projects listed below, see course website for Spring semester, 2014).
- Abstract Marks (24 related shapes)
- Icon / Symbols (six)
- SOTU (poster)
- snow studies (catalog, text and image)
(multiple visualizations, yielding book and poster)
- package design (pasta, same brand two qualities)
- overhaul/package all exercises done to date)
required (a copy of each will be held on reserve in the library) —
Adrian Shaughnessy. Graphic Design : A User’s Manual. Laurence King, 2009.
ISBN : 978 1 85669 591 6
Andrew Blauvelt and Ellen Lupton, editors. Graphic Design : Now in Production. Walker Art Center, 2012
ISBN : 978 0 935640 98 4
Adobe Typography Primer pdf
a 20-page concise and useful overview; includes glossary.
Will also distribute selected pages from the Adobe Font Folio II Type Reference Guide, in which fonts in that collection are grouped for easier selection. All fonts used in our exercises are to be selected via Fontbook, not from the default fonts that come with the apps.
bookmarks on design related anythings at pinboard.in/u:disegno.
montserrat design tumblr
imposition press tumblr
Comments/questions to jmcvey.