the pr ojce tapc1:jctd ljgh opet999st · “typography is the practice of combining letterforms...

Intermediate Graphic Design

UNIVERSITY OF HOUSTON | SCHOOL OF ART | GRAPHIC DESIGNFall 2015

Art 3330 Tuesday/Thursday Associate Professor Cheryl Beckett Contact [email protected] | design.uh.edu/beckett | Time 8:30–11:30 AM

Monday/Wednesday Associate Professor Fiona McGettigan Contact [email protected] | design.uh.edu/mcgettigan | Time 11:00–2:00 AM

The Project The designer uses text and images to communicate messages. In this project, we will combine text and image to create a fun, expressive, educational memory card game and a poster for International Literacy Day through the promotion of reading. Begin the poster concept by choosing a book/story as inspiration. Develop a title that reinforces the idea such as “Read a book, make a friend; Read to discover new worlds, Literacy for peace, etc.” Also include: International Literacy Day, September 8, 2015

Part 1 : Card CatalogResearch the topic, then develop a series of studies: 10 photographs and icons, 10 textual exercises. The icon studies consist of stylized books and at least one addi-tional image that supports the concept of why we read.Consider book genres, characters or setting. For the textexercises, use words from the title or book that inspire reading/literacy. Present studies on 4 x 6” (index card size) formats. Package them as a card catalogue with atotal of 20 - 4 x 6” cards.

Image/Icon [a]Use the form experiments on page 2 to develop a vari-ety of explorations. As a method to develop the poster imagery, explore different image representations. These can range from representational to abstract. Look for economical, elegant and creative ways to depict a mes-sage about reading. Present a total of 10 images: book photographs, book stylizations and selected additional image on 4 x 6” cards. Include icons studies, photo-graphic, media surfaces

Textual/Typographic[b]“ Typography is the practice of combining letterforms

into words and sentences. Like speech and writing, it is a language and a code. When used well, typography can be as powerful as the ideas to which it gives form.”

Select 1 word pair that defines or promote your particular literacy concept (i.e.: reading mystifies, literacy peace, literacy rules, books empower, imagine books, read create, fantasy books). Create typographic compositions on

Design Objectives To research and explore

+++ To further enhance compositional skills and

methods of visual translation and imagemaking

+++To study semiotics and meaning through symbols

+++To consider and develop an awareness of the

subtleties and detail of the letterforms and the effect of formal alteration on a neutral (without

bias or obvious meaning) letterform.

+++Introduction to semantics (meaning) and syntax (arrangement) and explore design methods and criteria through which the meaning of the typo-

graphic message and form may be altered.

the 4 x 6” format using the assigned typographic experi-ments (on page 4). Study how placement, composition, manipulation and overall compositional decisions can effect the meaning of the words. Use B+W + one color. Present 10 explorations of the word pairs on a 4 x 6” card. You many bleed off the frame.

Part 1 : Card Catalogue Final FormatEach of the 20 cards must be on 2 ply Letramax, card stock or museum board. Package the cards in a con-structed open top “file box” approximates 7w x 5d x 3h”. Consider the box material and design.

Part 2 : PosterIn part 2, continue to research the International Literacy Day website and other reading campaigns. Create a poster that combats illiteracy and encourages reading. Combine the stylized book and other imagery to express the idea. Use the title and other words or phrases to enhance the message. The poster should include the title and International Literacy Day, September 8, 2015You may choose to be educational, or informational (based on data and facts), political, (making a powerful statement), metaphorical, whimsical…while still calling attention to the issue. Consider your audience and the context in which the poster will be presented. Remember positive messages, (not negative images or messaging), is what inspires people to action on a daily basis.

ScheduleDay 1 [T 8 /W 9 Sept] Introduction : Project 2Present slides of icons and typeAssign image/icon explorations [a]Assign Typographic studies [b][TH 10 Sept] Day 2 T/TH classWork in class to create iconsCritique: 10 image/icon studies on 4 x 6” format. [M 14 / T 15 Sept] Day 2/3Critique: 10 image/icon studies on 4 x 6” format. Refine 5Critique: 5 typography studies on 4 x 6” format. B+W only

Project 2 : International Literacy Day In a April 2013 article published by the Huffington Post, a study by the U.S. Department of Education and the National Institute of Literacy found that 32 million adults in the U.S. can’t read. That’s 14 percent of the population. 21 percent of adults in the U.S. read below a 5th grade level, and 19 percent of high school graduates can’t read. According to the Department of Justice, “The link between academic failure and delinquency, violence, and crime is welded to reading failure.” The stats back up this claim: 85 percent of all juveniles who interface with the juvenile court system are functionally illiterate, and over 70 percent of inmates in America’s prisons cannot read above a fourth grade level, according to BeginToRead.com.

Whether it’s reading or writing, literacy is an outlet to an untouchable world – your imagination. Not only is literacy a basic human right, it is a fundamental building block for learning as well as a personal empower-ment tool. It is the catalyst for social and global progress. September 8th, 2015 is International Literacy Day which hopes to give children and communities a chance to rediscover the joys of reading while raising awareness for those without access to education.

Part 1 : Card Catalog

Part 2 : Poster





[W 16 / TH 17 Sept] Day 3/4Critique: 5-10 image/icon studies on 4 x 6” format. Critique: 5-10 refined type studies on 4 x 6” format. B+W only. As time allows, bring tools & materials to class to work[M 21 / T 22 Sept] Day 4/5Critique:10 icon studies (4 x 6”) to finalizeCritique: 10 typography studies (4 x 6”) B+W + 1 color to finalizeAssign PosterChoose 1-3 of your images and 1-3 words or a phrase based on your words to compose on an 18 x 26” poster format. You may add other images or forms to help support your poster concept. Use the selected book and book form as a starting point. Compose the visual and typographic with considerations of contrast, placement, eye movement, positive and negative space, line weight, gesture and overall uniqueness and expression of form and typographic meaning. Consider the message and audience. Begin by developing 10-20 quick thumbnail concept and compositional sketches. Choose 2 to enlarge and refine.[W 23/ TH 24 Sept] Day 5/6Critique: 10 refined image/icon studies (4 x 6”) to finalizeCritique: 10 type studies (4 x 6”) B+W + 1 colorPresent 10 poster thumbnail sketches (Pencil)[M 28 / T 29 Sept] Day 6/7Critique: 10 final image/icon studies (4 x 6”) Critique: 10 final type studies (4 x 6”) B+W + 1 colorCritique: 2 - 9 x 13” (1/2 scale) poster sketches (B+W)[W 30 Sept/ TH 1 Oct] Day 7/8Critique 2- 9 x 13" (1/2 scale) poster composition Discuss packaging for card catalogue to includeicons studies, photographic, typographic and mixed media surfaces. 10 type studies[M 5 / T 6 Oct] Day 8/9Critique 2- 9 x 13” (1/2 scale) poster (color media)In small groups review packaging.[W 7/ TH 8 Oct] Day 9/10Critique 1- 18 x 26” poster compositionReview Packaging Critique: 10 final image/icon studies (4 x 6”) Critique: 10 final textual studies (4 x 6”) B+W + 1 color[M 12 / T 13 Oct] Day 10/11Critique 1- 18 x 26” Poster composition (Color and Media)[W 14/ TH 15 Oct] Day 11/12Due Part 1: 20 studies (Card Catalogue)Discuss SketchbookWork in class on poster[M 19 / T 20 Oct] Day 12/13Critique 1- 18 x 26” Poster composition (Color and Media)[W 21/ TH 22 Oct] Day 13/14Due Part 2: 1- 18 x 26” Poster (flush mounted on foamcore or gatorboard)Due Sketchbook. Organize your research and sketches and bind.

Image/Icon [a] Textual [b]

Poster

Card Catalog





I C O N / T R A N S L AT I O N E X P E R I M E N T S

Select a hardcover book (blank cover and without the slip cover, and with text on the inside, not images). Compose and photograph the book and print 5a. Opened (select pages with all text)b. Closedc. With and without handsd. On a variety of surfacese. In a variety of lighting conditions (inside/outside)The goal is to provide yourself with enough variety in form, counterform, composition and perspectives. The form of the book should be clear in the final imagery. Note: You may use a digital camera and print all

images on a good quality color printer.Develop or print the images and bring to class.Select 3-5 images (angles, perspectives, compositional crops) from the prints that communicate the form of the “book”. Compose on a 5 x 5” format. Consider gestalt, form and contrast.Using these images as a starting point, experiment with the following exercises to create 5 x 5 composi-tions that explore all or most of the experiments below. Consider ideas for your final poster in relation to the forms and the possible addition of other imagery com-bined with the book.

1 Xerography/Computer Explorations B+W1.0 B+W : Adjust Contrasts1.1 B+W : Enlarge and then reduce to 5 x 5 composition1.2 B+W: Experiment with various papers + colors +

Transparencies + vellums1.3 B+W: Other or Combination

2 Xerography/Computer Explorations Color2.0 Color : Single Selective Color2.1 Color: Color foreground and color background2.2 Color : Shift registration2.3 Color: Experiment with various papers + colors +

Transparencies + vellums2.4 Color: Other or Combination

3 Contour/Stylized Line(Analog and Digital)Draw/trace over the original 3 photographic images. Define through line the information needed to define and stylize the form of the book and to create an interesting composition. No solid forms.3.1 B+W : Contour lines (thin tech. pen)3.2 B+W : Refined line (thin tech. pen)3.3 B+W : Refined line (thick tech. pen)3.4 B+W : Combine thick and thin tech. pen

4 Gesture/line (Analog and Digital)4.1 B+W : Gestural Line (Ink and thin brush)4.2 B+W : Gestural Line (Ink and thick brush)4.3 B+W : Gestural Line (Acrylic and thin brush)4.4 B+W : Gestural Line (Acrylic and thick brush)

RenaissanceBaroque/RococoCubismdeStylSurrealismVictorianNative AmericanAmerican Folk Arts

Arts & Crafts Art NouveauArt DecoBauhausConstructivism50’s style60’s style Pop Art

InternationalJapanMexicoAfricaIndia

4.5 B+W : Gestural Line (thick marker)4.6 B+W : Gestural Line (conte crayon or charcoal)4.7 B+W : Gestural Line (Combine)

5 Silhouette/High Contrast/Planes (Analog and Digital)5.1 B+W : Black on White Silhouette (Gouache or Ink)5.2 B+W : White on Black Silhouette (Gouache or Ink)5.3 B+W : Equivocal Space (Gouache or Ink)5.4 B+W : Gestural Planes (Gouache or Ink)5.5 B+W : Geometric Planes (Cut Paper)

6 Printing Techniques6.1 B+W or Color : Rubbing (use 5.1 as the basis for this)6.2 B+W or Color : Block/Stamp Printing (use 5.4 as

the basis for this)6.3 B+W or Color : Etching6.4 B+W or Color : Xerox transfer

7 Paint Experimental TechniquesExperiment with Section 4, 5 and 7 using Acrylic, oil and watercolors. Color

8 : 3-D Construction (present as 3D or photograph)9.1 White on White9.1 Black on Black

9 Collage | Hand done | Additive | Subtractive Choose a combination from above. Select Color and B+W.

10 Historical reference (movement or artist /designer) Choose 4 (You may choose others not on this list)Choose colors that relate

Compositional Considerations :Gestalt (parts and wholes), Emphasis/Focal PointContrast, Scale, Balance, Symmetry/AssymmetryRhythm, Line, Shape/Volume/Mass, Space, TextureMotion, Value, Color





T Y P O G R A P H Y / T E X T U A L E X P E R I M E N T S

Using your selected 5 words conduct typographic explora-tions on a 5 x 5” format in B+W, or B+W + one color.

Using the assigned typeface (Univers) begin by practicing accurate spacing and tracing of the 5 words on a 5 x 5” format (one word per format). You may choose any of the weights. Then study each of:1.0 Word: Case change 1.1 Word: Size change1.2 Word: Weight change

1.3 Word: Spacing

Analyze the inherent meaning of the words related to your research and concept. Consider formal explorations that help to continue to express the words visually. Make a list. Review other typefaces that best represent or express the formal interpretation. Review the online foundries/sites to the left. Many sites let you test out a few words before buying. Select typefaces that best represent the idea/meaning of your words. You may also continue to use Univers. Con-sider issues of style and classification, contrast and form. Print out the typefaces to use for your study. Write down the name of the typeface, the designer, and the purchase site. Be able to briefly describe why the typeface is appropriate. Enlarge and trace the words using the 3-5 type choices. Compose each word on its own 5 x 5” format. Consider type choice, typographic mixing, scale/size/hierarchy, place-ment/orientation on the format, composition, positive and negative space, cropping, overlap, splicing, rotation, and other techniques to express the intended meaning of the word or concept. Consider extended explorations below.Finalize 5 words in B+W on a 5 x 5” format. Final media may be print, with pen and ink or plaka with consideration and care of letterform craft and details.

Consider all previous type experiments to include:• Face, case, size, slant, weight, width, distortion, outline,

texture, tonality,balance, direction, ground, grouping, proximity, repetition, rhythm, rotation

Expressive Type/Semantics• The arrangement and selection of type reinforces the

meaning of words.• The shape of the words and the organization of the

type becomes an important aspect of the composition and the sense of legibility. Experiment with the visible language. Expressive, dynamic.

Collage + Typography• Spontaneous type. Expressive, irregular, layered. • Visual elements or objects that exist independently of

one another are brought together to create a new com-position with a new meaning. Elements are selected, cut, torn, etc. And reassembled. Refers to the posted paper compositions by the cubists.

Historical/Borrowed Style• May refer to or mimic typographic styles from a time pe-

riod or culture being represented. Care with stereotypes.

Hand-Lettering Type/Words/Stencil• Calligraphy, graffiti, hand-drawn letters, stencil• A move away from the precision of printing type or

computer generated type.

Planar type• Releases type from 2-D space. Implied dimension.

Affected by perspective.

Type and Image integration• Type and image are treated equally.• Composition works to form and integrated whole.• Type and image affect each other.

the pr ojce tapc1:jctd ljgh opet999st · “typography is the practice of combining letterforms...

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