critical & presentation poster workshop less-is-more positive-negative visualising drawing letterforms projects

contextual & portfolio (reductive & iterative process) (figure-ground)

Research a given icon from graphic
studies design history. Write a 1000-word
summary using these 4 stages:
1 introduction: basic factual
information, who / what / when / how
2 graphic analysis: using your seminar
Edit your summary to 4-500 words and,
using the template specified + the exact
type and layout rules, design an A2
landscape poster on your icon (>>Bb).
You must reference every source
accurately using the Harvard system
activities Starting with a conventional photograph,
explore the image through a reductive
process of cropping > simplifying >
magnifying.
This will take you on a series of journeys
Working from a source image, visualise
an object that is essentially white by
creating in black media as little as
possible of the surrounding ‘negative’ or
non-object shapes (ground). Include the
dark-toned areas of the object iteslf.
Choose a letter from a typeface, one
that embodies the graphic character and
personality of the whole character set informed play model
By observation (not tracing) draw your
design process model_1 given brief I have been set a problem
letter in the following ways: very large /
repeated medium / small / -orientate / informed play project 1 – typo/graphic 2005 De Montfort University Faculty of Art & Design BA (Hons) Graphic Design

tools and communication criteria model
describe the graphic properties and how
they work together
3 function, interpretation & significance:
describe/explain meaning, relationships,
in wider contexts (see history paradigms
(>>Bb). Upload your text to Turnitin to from the pictorial to the abstract, via a
avoid plagiarism (>> Bb). threshold where the original image
content could either be symbolized or
It is important that you respond to
trigger other, unexpected associations.
feedback from your presentation in
re-writing your poster content. Reducing the information at each stage
also includes colour, detail, texture and
Include a high-quality visual of your icon
line. Record your visual journeys and
re-position / change your position / less is more (Mies van der Rohe)
personal reflection
At what point does the object (figure) dynamic / vertical stretch / horizontal secondary research primary research maximum meaning, minimum means 8
audience response
‘appear’, triggered by your shapes stretch / cropped details evaluate
(Abram Games) is this the best solution I can design?
(closure)?
process ~ mark out a squared grid on an information experimentation Create an A2 poster on a given film. This what skills are required?
7
Apply the reductive principle of A2 sheet of white cartridge as indicated thinking doing & making must be abstract, chiefly based on produce outcome
how will this design be produced?
what format will communicate the visual idea?
less-is-more. Experimental cropping and >>Bb
reality creativity letterforms + space, colour, tone,
reference to the picture-frame/visual

linking < > testing < > judging

edit simplify challenge
model >> Bb) top left, plus comparative examples if letter application ~ think how your letter texture, etc. You will need to explore 6 eliminate rationalise extend
discovered outcomes as sequences. field is essential. refine design
needed. would behave in the following contexts: and apply the processes from the emphasise minimise enhance
4 Full bibliography (Harvard >> Bb) what do I know? what have I done...?
Ref - Beggarstaffs. workshop activities.
cartoon character / brand logo / does it work? what can I try...? 5 what is working? what is relevant?
Edit your summary further into bullets,

trial & error

what is engaging? what is clear?
physical object / building / an annotated is it credible? what is possible...? You will research your film and edit its test ideas
statements, quotes, etc. + illustrations what is exciting? what is innovative?
guide / machine or gadget. essence down to a strong typographic
for your Powerpoint presentation. visual statement. A summarising quote 4 play stimulation problem-solving
chance questioning lateral thinking
from your film + its title are your only generate ideas
character set design primary shapes spatial composition text content.
discovery connecting experimentation

graphic communication criteria Design a character set of 26

(square, triangle, circle)
Explore dynamic typographic space 3 collecting (gathering information, recording experiences)
The process and schedule follows the research
curiousness (what’s interesting, different, challenging)
based on Harold Lasswell’s model of communication, 1948 uppercase/capital letters based on an Visualise a wide range of squares, through application of Tschichold’s connecting (relationships, symbols, significance, meaning)
design research model 1 - given brief.
object or motif. triangles and circles from as varied a principles:
internal what is the main problem?
range of media as possible - at least 50 You may use any media, but consider 2 what is the purpose and function of the design?
› researching graphic communication Analyse and explore your object to - off-centre elements must be balanced re-define brief
› generating a taxonomy of each. what works for your pathway and idea. what is the content and message?
extract its essential visual properties and by opposite elements
external characteristics. Closely analyse your shapes and Your idea must be simple, 1 analysis of audience
- elements near or off the frame edge historical reference (how has this been done before?)
› defining research questions towards a graphic outcome image-making media for content and communicative and rigorously tested. research contexts
Use the Roman quadrata grid to form must be aligned or balanced with consolidate issues
› defining criteria and parameters for a brief idea start-points – what minimal extra
your letters, giving them consistency and elements in the main body.
information do you need to add to
legibility >>Bb.
transform your shapes into symbols and Using a simple 9 x 6 square cell grid,
who? says what? in what channel? to whom? with what effect?
Test and experiment with your letters in ideas? produce a series of thumbnail layouts creativity through transformation model project 2 - discovery
design process model_2 research I need to identify a project
2005 De Montfort University Faculty of Art & Design BA (Hons) Graphic Design
words, carefully letterspacing (kerning) which integrate: one letterform, a motif after Paul and Ann Rand*
COMMUNICATOR MESSAGE CHANNEL RECEIVER EFFECT
Ref - Alan Fletcher.
each pair. Use clean, dry black media or image, an abstract shape, negative The problem of the artist is to make the
and mount on white board. space. commonplace uncommonplace. (P Rand) personal reflection
control content medium audience response
‘the problem of the G R A P H I C C O M M U N I C AT I O N I D E A 9 audience response
Ref - Joost Schmidt artist is to make the By thoroughly researching your given
evaluate
is this the best solution I can design?
commonplace extraordinary area/topic, identify something unusual what skills are required?
COMMUNICATOR MESSAGE | CONTENT CHANNEL | FORMAT RECEIVER | AUDIENCE EFFECT | LEVEL uncommonplace’ audience or interesting you have discovered. 8
produce outcome
how will this design be produced?
CONTEXT facts | data 2D surface singular
political description 3D object small | limited denotative | physiological
unexpected what format will communicate the visual idea?
design = discovery, challenged, stimulated, Through a process of collecting > linking
financial explanation 4D interactive specific | defined cognitive | internal edit simplify challenge
first for the designer, unusual entertained, engaged > experimenting, graphic analysis + 7
technological narrative diverse | multiple typographic signs text & image idea 101 > persuaded, informed
synthesis, design a method of refine design
eliminate rationalise extend
commercial argument CHANNEL | VALUE universal connotative | psychological then for the audience emphasise minimise enhance
religious imperative cheap | low-value contextualised | external Adapt the letters of an imaginary brand Explore the arbitrary relationships and Create 101 different symbols on a communicating this information in an
what is working? what is relevant?
ethical warning some relative value
name, based on an existing typeface, to changing messages of text/type and general iconic (object-based) theme, appropriate and innovative format. 6 what is engaging? what is clear?
personal precious | high-value test ideas
social symbolise ideas within the text content. image gestalts. such as home, money, sun, etc. designer Your concept must engage and inspire; it
what is exciting? what is innovative?

legal MESSAGE | TIMESPAN CHANNEL | MEDIA RECEIVER | CONTEXT EFFECT | CONTENT must be simple, accessible and play stimulation problem-solving
economic limited | disposable one-off | hand-crafted 2D surface informed
Invent a brand name. Choose a standard Choose an information-rich image with This will stretch your thinking and
understanding > challenging
5 chance questioning lateral thinking
cultural fixed | specific limited | batch 3D spatial instructed typeface which expresses the personality open interpretation. Experiment with extend your ability to visualise ideas informative. generate ideas
discovery connecting experimentation
problem/brief
ideological permanent mass-produced print 4D time-space persuaded and values of your brand. three different copy lines that: through applying ideation tools. The aim audience perceptions You will need to draw on earlier graphic analysis of audience
administrative electronic | web entertained
- repeat (reinforce most evident idea) is to challenge obvious, literal and iconic visual language
concepts, plus the creativity and 4
Through careful visual analysis of the
interpretations with lateral concepts. concepts usual research contexts
historical reference (how has this been done before?)
consolidate issues
CHANNEL | LANGUAGE given letterforms and inter-character - clarify (reveal a specified meaning) lateral thinking, transformation models as thinking tools.
alphanumeric
spacing, adapt the letterforms, singly or You must extend your representations questioning ordinary audience what is the main problem?
typographic | spatial - juxtapose (create an unexpected idea) discovering > testing > The process and schedule follows the 3 what is the purpose and function of the design?
as a group, to extend the meaning of the further through a wide range of media,
image | pictorial with the original interpretation. selecting everyday perceptions, recognition,
design research model 2 - research. formulate brief
what is the content and message?
representational brand name. including photography and found refining MAYA outcome
line-as-tone culture, behaviour, You may use any media, but consider what have I discovered?
Then reverse the process, inventing a objects. You must not use secondary (Loewy: most advanced yet acceptable) 2
outline | silhouette This will link textual content, values, expectations
what works for your pathway and idea. what are the main contexts?
single copy-line and three different sources unless they are appropriated to G R A P H I C C O M M U N I C AT I O N I D E A analyse research
pictogram typographic voice, letter syntax and who are the audiences?
cartoon | personfied images which repeat / clarify / create a new idea. * Rand, P & A (1960) ‘Advertisement: Ad Vivum or Ad
semantic meaning, creating an Hominem’ in Bierut, M et al. (1999) Looking Closer 3:
collecting (gathering information, recording experiences)
abstract map juxtapose the text content. Classic Writings on Graphic Design. New York, 1
diagram
integrated typogram. Grid up 108 45mm squares 12 x 9 on A2 Allworth Press.
research
curiousness (what’s interesting, different, challenging)
connecting (relationships, symbols, significance, meaning)
chart | table Consider typographic voice, spatial landscape, making at least 3 copies for
Ref - Herb Lubalin
colour multi hue | cmyk | rgb composition and image cropping. ideas, refinement and final artwork.
limited hue
mono hue
bw
grey | tonal

term 1 term 2 term 3

week 1 2 3 4 5 6 7 8 9 10 11 12 13 – 15 16 17 18 19 20 21 22 23 24 25 26 27 28 – 30 31 32 33 34 35 36 37

date 01.10 08.10 15.10 22.10 29.10 05.11 12.11 19.11 26.11 03.12 10.12 17.12 14.01 21.01 28.01 04.02 11.02 18.02 25.02 04.03 11.03 18.03 25.03 01.04 29.04 06.05 13.05 20.05 27.05 03.06 10.06

topic introduction less-is-more: figure– basic introduction formative typographic spatial typographic text & image formative feedback & Christmas desiging with topic topic formative feedback & graphic reading week organising explaining mapping & assessment formative Easter Level 1 (Level 2 Level 1 Level 3 last week of Faculty of
to graphic symbolism & ground elements of to the assessment application composition, signs assessment briefing vacation type assessment briefing rhetoric & information things diagrams information assessment vacation summative summative feedback, summative term 3 & Art & Design
studies abstraction graphic language of typographic the art of study trip assessment assessment) PDF tutorial assessment academic Degree Show
process language letterforms work & hierarchy & work & project 1 persuasion project 2 & vacation year
outcomes grids outcomes typographic disovery all modules information
from: from: design
workshop & visual reductive & positive– square drawing character set type typographic team project 1 research team team team project 2 team team team team team idea 101 improving parity
project stage diversity iterative negative triangle letters less-is-more design rendering signs tutorials letterform typographic contexts tutorials tutorials tutorials discovery: tutorials tutorials tutorials tutorials tutorials and marking &
process visualising circle design design: briefing extending on external
idea 101 pos-neg typographic generate & generate & refine design produce research research generate & select idea, produce
briefing 6000 years of all work for moderation,
composition test ideas spatial test ideas outcome initial directions contexts test ideas refine design outcome
square, letterforms summative Assessment
composition research
triangle, assessment Board
overview & review, review, review, review, review, review, review, review, review, review, review, review, review, review, review, review,
circle typographic
processes, critique & critique & critique & critique & critique & critique & critique & critique & critique & critique & critique & concept critique & critique & critique & critique & critique &
signs
creative self- self- self- self- drawing self- self- self- self- self- self- self- mapping self- self- self- self- self-
review, assessment assessment assessment assessment letters assessment assessment assessment assessment text & image assessment assessment assessment assessment assessment assessment assessment assessment
postcard
project
CCS icons of Inventing the Modernist Modernist Visual Visual Arts & Crafts Cubism, De Stijl, The book & Graphic
graphic graphic graohic graphic analysis in analysis in to Art Futurism, Dada, calligraphy design &
design: designer design I + design II + Graphic Graphic Nouveau Vorticism Constructivis in the cultural
research seminar seminar Design I + Design II + m& Islamic world identity in SE
seminar seminar Surrealism Asia
additional found cropping A2 black found objects, A2 paper 0.1 graphic image presentation presentation presentation presentation poster
materials materials, square, paper materials, pen examples sessions 1 sessions 2 sessions 3 sessions 4 exhibition
A2 board themed substrates,
images, etc.
tracing paper

my notes

essential information
module statistics module deliverables tutor contacts how do I get information this module? what do I need to do to pass this how is my work assessed? see your Programme Study Guide for... key reference material see the full bibliography on Blackboard key
module?
60 credits (50% of Level collecting boxes Paul Linnell pagl@dmu.ac.uk F10.2 x7440 key information on this poster the module assessment criteria can be how do I get an extension? Barnard, M (2005) Graphic Design as Communication. Routledge CCS - Critical & Contextual
1 credit value) take creative risks summarised as follows:
personal linking journals weekly feedback & information will be what if I have extenuating circumstances Carter, R., Day, B. & Meggs, P. (2006) Typographic design: form and Studies
75% Ian Newsham inewsham@dmu.ac.uk F10.2 x8730
contact day Wednesday e-mailed to your DMU e-mail account develop curiosity – observe > question (illness, etc)? communication. Wiley runs in term 2
visual experimentation workbooks content: does my work communicate an
+ CCS seminars Réa de Matas rmatas@dmu.ac.uk F10.2 x8291 > analyse > apply
full details on all the project briefs and idea? what if I fail work at the end of the year? De Sausmarez, M. (2007) Basic Design - the dynamics of visual form. Herbert Press
workshop activities formative assessment
assessable work are on GRDN1001 never be satisfied with just enough – 
module leader: Brian Motte bmotte@dmu.ac.uk F10.2 x7440 creativity: is my work original, what if I have to resit a module? Dondis, D. (1973) A primer of visual literacy. MIT Press indicative grade at the end of
two graphic design projects Blackboard pages (>> Bb) how far can you take each topic?
Paul Linnell demonstrating thorough exploration project stage that can be
Keith Symonds ksymonds@dmu.ac.uk F10.2 x7440 how will my assessed work be returned? Hall, S (2007) This means this, this means that: a user’s guide to semiotics.

GRDN1001
a presentation + written summary additional material & handouts in the see this module as part of your whole improved via feedback and
25% studio sessions creative development as a professional craft: does my work explore innovative how do I avoid plagiarism? Laurence King. tutorials
a graphic design history posterº Elizabeth Lambourn elambourn@dmu.ac.uk F2.5 x6781 designer and appropriate media, and is clearly Hollis, R. (2002) Graphic Design: a Concise History. London, Thames & Hudson.
support materials, examples, notes & what are the marks, grades and
Adrian Lewis alewis@dmu.ac.uk F2.4 8682 presented? summative assessment
Graphic Studies: An overview of the whole module, showing weekly topics and bibliographies on Blackboard (>> Bb
viscomm resources)
engage fully with all the sessions classification bands? Jury, D.(2006) What is typography? Rotovision. final grade which becomes
schedule, assessable work, project briefs and support tools. for full assessment criteria, see your
Context & See the module pages and the Graphic Design Community Area on the studio noticeboard
talk to a tutor if you fall behind
Programme Study Guide and the course
what is the assessment criteria? Livingston, A. (2003) The Thames & Hudson Dictionary of Graphic Design and
Designers. London, Thames & Hudson.
progression mark for next study
level
check e-mail and Blackboard every day
Communication Blackboard (>>Bb) for full details and further resources. verbal information from your tutors in
ask a tutor if you do not understand
Assessment and/or Progress Record
Meggs, P. (2006) A History of Graphic Design. Van Nostrand Reinhold. >>Bb further, expanded
timetabled sessions for CCS criteria, see CCS Assessment
anything Meggs, P. (1989) Type and image: the language of graphic design. Van Nostrand information on Blackboard

module reference
Sheet >> Bb
Reinhold either GRDN1001 module pages or
for marks, grades and classification Graphic Design Community Area
Newark, Q. (2007) What is Graphic Design? Rotovision
bands, see your Programme Study Guide
Spencer, H. (2005) Pioneers of Modern Typography. London, Lund Humphries.