Concept is king. Remember that the why question is more important than the how. Great way to jumpstart your type skills.
http://psd.tutsplus.com/articles/web/50-totally-free-lessons-in-graphic-design-theory/
Tuesday, November 24, 2009
16 Great Graphic Design blogs and sites
Graphic Design Week articles
http://psd.tutsplus.com/articles/news/graphic-design-week-wrap-up/
Blogs and sites worth checking out if you haven't already
http://psd.tutsplus.com/articles/web/16-great-graphic-design-blogs-and-sites/
http://psd.tutsplus.com/articles/news/graphic-design-week-wrap-up/
Blogs and sites worth checking out if you haven't already
http://psd.tutsplus.com/articles/web/16-great-graphic-design-blogs-and-sites/
Graphic Design Basics
http://gdbasics.com/
This site and book by Ellen Lupton and Jennifer Cole Phillips takes a fresh look at design issues and could fuel and inspire your copy and portfolio
Rhythm and Balance
Scale
Texture
Color
Figure/Ground
Framing
Hierarchy
Layers
Transparency
Modularity
Grid
Pattern
Diagram
Time and Motion
Rules and Randomness
This site and book by Ellen Lupton and Jennifer Cole Phillips takes a fresh look at design issues and could fuel and inspire your copy and portfolio
Rhythm and Balance
Scale
Texture
Color
Figure/Ground
Framing
Hierarchy
Layers
Transparency
Modularity
Grid
Pattern
Diagram
Time and Motion
Rules and Randomness
Monday, November 16, 2009
An archive of visual identity
Check out this site sent to me courtesy of Dorothy as you work to develop personal identity.
http://www.graphic-exchange.com/03identity.htm
http://www.graphic-exchange.com/03identity.htm
Sunday, November 15, 2009
Information and Links on Transfer Programs
Private Art/Design Graphic Design Programs
Undergraduate, Graduate
Academy of Art: San Francisco, California
The Graphic Design program embraces the entire range of visual communication. It recognizes that design is a cultural force that spans the consumer, commerce and social causes. The program provides a robust curriculum of conceptual problem solving, innovation, critical thinking and formal design as well as branding and marketing strategies. A real world approach to design assures aesthetics, functionality, value and meaning to all student projects. Students graduating from this program are well prepared to meet the rigorous challenges within the field of graphic design and are working in many of the world's most prestigious firms. The numerous awards bestowed on the students' work demonstrate the excellent approach to design and audience-based marketing strategies.
The areas of study encompass typography, print and editorial design, branding and identity, information design, packaging as well as production and presentation skills. Green strategies are very much a part of the program and issues of sustainability are strongly considered.
Potential Careers: Graphic Designer, Typographic Designer, Print Designer, Package Designer, Publication Designer, Branding and Identity Designer, Corporate Communications Designer, Environmental and Retail Designer, In House Graphic Designer, Communications Director and Music Industry/Entertainment Designer.
BFA Program Learning Outcomes
School of Graphic Design
The graduate program in Graphic Design emphasizes mastery of the profession — including narrative abilities, presentation skills, strategic thinking, problem solving and the ability to develop innovative conceptual solutions. Areas of specialized training include typography, visual literacy, identity, and print publication. Students acquire the finely tuned design skills, self-discipline and professional expertise necessary to become advanced practitioners.
The graduate student's final thesis project must integrate concept and content with technical prowess to make an original contribution to the field of graphic design. The thesis project is critically reviewed and approved by the graduate final review committee, then professionally exhibited to the industry and public.
http://www.academyart.edu/graphic-design-school/bfa_program.html
http://www.academyart.edu/graphic-design-school/mfa_program.html
Art Center: Pasadena, California
Degree: Bachelor of Fine Arts
At Art Center, Graphic Design students learn to infuse words and images with life and meaning, whether they are creating motion graphics on the latest digital equipment, or setting type by hand in Art Center’s letterpress shop.
Our program begins with an accelerated education in the formal principles of design, aesthetics and craftsmanship, after which students may specialize in a single area of graphic design or explore the full scope of communication design.
This approach is consistently validated by the awards our students win in many of the nation’s top competitions, including the Adobe Design Achievement Awards and the Broadcast Designers Association awards.
Traditional manual skills, such as hand lettering and drawing, and sophisticated graphics software are part of the same spectrum of tools available to today’s graphic designers.
We challenge students to develop their design solutions while experimenting with a wide range of media, including product packaging, book and magazine layouts, interactive communication, 3D graphics, virtual environments and the creation of graphic identities and branded experiences.
Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects sponsored on behalf of humanitarian organizations, our students apply their skills to commercial and nonprofit causes while collaborating with product designers, photographers, illustrators and students from other majors.
Their education is further supplemented with courses on design history, the language of the moving image, and design research.
By learning to create solutions that are innovative, coherent, beautiful and engaging, we prepare students to become leaders in communication design—whether they plan to join an established firm, or launch a studio of their own.
Find out more about our department at artcenter.edu/gpk.
Career Opportunities
Art Direction
Book Design
Branding and Corporate Identity
Broadcast Graphics
Creative Direction in Motion Design
Digital Output Management
Environmental Graphics
Exhibition Design
Film Title Design
Information Design
Interaction Design
Interface Design
Marketing and Communications Management
Package Design
Pre-Press Production
Printing
Production Management
Publication Design (Magazines, Newspapers, Annual Reports)
Storyboarding
Typeface Design
Web Design and Development
http://www.artcenter.edu/accd/programs/undergraduate/graphic_design/about.jsp
Cal Arts: Valencia, California
The highly rigorous and structured BFA curriculum is centered around a core class covering all aspects of graphic design practice. Each year in residence builds on the experience of the previous as a sequence of additional classes explore imagemaking, typography and design history. This coursework is followed by more specialized classes in areas such as web design, motion graphics and type design.
The BFA program typically admits 15 students each year and all students are required to pass faculty reviews at the end of every academic year.
http://calarts.edu/node/10549
that graphic design is a visual practice and that ideas in graphic design are best expressed (and understood) through form, the interrelationship between words and pictures.
MFA Graphic Design
Many philosophies that motivate contemporary design are represented in the MFA curriculum, but one general philosophy – that graphic design is a visual practice and that ideas in graphic design are best expressed (and understood) through form, the interrelationship between words and pictures – underpins the structure of assigned projects, critique and the development of independent thesis work in the MFA program.
MFA Graphic Design (2-year)
The 2-year MFA curriculum focuses on the advanced exploration of form, methodology and practice, informed by a consciousness of the following contexts: contemporary practice, craft, audience, theory and history, and the constantly shifting media environment. Individual critique within a communal studio structure helps designers to develop a personal direction and agenda, intended to influence work beyond graduate school. The first-year curriculum consists of a sequence of weekly seminars in which research and studio projects are examined and discussed. The second year in residence is dedicated to developing and realizing a major thesis project that contributes to—and challenges—the graphic design community at large. In each of the two years, graduate students deepen and refine their work though a set of required and elective courses covering subjects such as type design, typography, motion graphics, design theory and design history. Visiting designers who lead short-term projects are another important aspect of the CalArts program, which consciously seeks to broaden the types of experiences offered to students within the focused studio environment.
Details of 2-Year MFA Graphic Design
MFA Graphic Design (3-year)
The Program in Graphic Design also offers a three-year MFA for talented students who have a background in visual work but only limited experience in graphic design. The first year of this program is an intensive educational experience in form-making and conceptual skills, designed to prepare students to move on to the two-year curriculum described above.
Details of 3-Year MFA Graphic Design
Each year, the MFA program accepts approximately eight students for the two-year program and five students for the three-year program. Selected MFA applicants are invited to CalArts to interview with faculty and meet with their prospective peer group. Applicants from outside the United States and those who cannot travel for an interview may be interviewed by telephone.
http://calarts.edu/node/10548
http://www.otis.edu/academics/graduate_graphic_design/index.html
http://www.otis.edu/academics/graduate_graphic_design/student_work.html
RISD: Providence, Rhode Island
The graphic design department at the Rhode Island School of Design (RISD) offers several degree programs: a four-year undergraduate BFA degree, a five-year bachelor of graphic design degree (BGD), a two year MFA degree, and a three-year MFA degree. Our mission is to educate students in the ever-expanding realm of visual communication design in a number of areas including: typography, book arts, digital and interactive media, strategic thinking, information design, and visual narrative. RISD's graduate program in Graphic Design prepares students for professional practice by emphasizing the role of social context, media and aesthetics in the production of visible language systems. Like the discipline itself, it requires a nimble and intelligent response to constant change and burgeoning technology, while building a strong foundation of formal, aesthetic and analytical knowledge.
RISD's graduate program in Graphic Design prepares students for professional practice by emphasizing the role of social context, media and aesthetics in the production of visible language systems. Like the discipline itself, it requires a nimble and intelligent response to constant change and burgeoning technology, while building a strong foundation of formal, aesthetic and analytical knowledge.
The department's accomplished professors extend the energy and ideas graduate students bring to the studio and encourage generative thinking and making. In addition, visiting designers offer varied models for practice and introduce students to resources in the larger design world.
34 grad students/ 191 undergrads
http://www.risd.edu/graduate/graphic/Default.aspx
http://gd.risd.edu/www/gallery/student/category/C11
Savannah College of Art and Design: Savannah & Atlanta, Georgia
As a communications link between supplier and consumer, the graphic designer conceives and executes concepts to inform, motivate, educate or sell.
At the core of graphic design at SCAD is conceptual thinking. Students are encouraged to view differently, shift focus, look from multiple perspectives, and to understand how perception influences meaning. At SCAD, graphic design is about more than problem-solving, as students explore the creative challenge of determining what the problems are, and what opportunities exist to explore new solutions.
At both the undergraduate and graduate levels, coursework parallels professional practice. Print and digital portfolios display professionally competitive design projects and demonstrate knowledgeable use of both print and time-based communication media.
Student projects may include promotional campaigns, logos and visual identities, multimedia/interactive projects and presentations, packaging, posters, publications, information design solutions, Internet pages, brand design, social media exchanges and more. Students also learn appropriate production techniques and methodologies.
Facilities include state-of-the-art Mac labs and presentation equipment. Students use industry-standard software applications such as the full Adobe Master Collection package.
http://www.scad.edu/graphic-design/index.cfm
http://www.scad.edu/graphic-design/mfa.cfm#programButtons
School of Visual Arts New York: New York City http://www.schoolofvisualarts.edu/ug/index.jsp?sid0=1&sid1=34
http://www.schoolofvisualarts.edu/grad/index.jsp?sid0=2&sid1=29
SVA is a graphic design school in New York City whose mission is to educate designers who aspire to be professional artists. The renowned faculty at SVA?s design school consists of more than 100 working professionals at the top of their fields who work closely with students to help them gain an in-depth understanding of scale, texture, symmetry, tension, line, color, tone, balance, contrast, pattern and the principles of perspective. Request information at admissions@sva.edu to learn more about the graphic design school at SVA.
Like busy wallpaper, images and messages surround us in our everyday lives, each visual communication demanding our attention. The competition is fierce.
Now more than ever, great design matters. It has to stand out in the avalanche of posters, ads, flyers, direct mail pieces, books, magazines, Web sites, etc., or else disappear from sight.
At SVA, you become a graphic designer who matters by developing a personal visual vocabulary that is strong in the formal principles of design and solves problems through the process of clear conceptual thought.
You start with the basics. What's mandatory is an in-depth understanding of scale, texture, symmetry, tension, line, color, tone, balance, contrast, pattern and the principles of perspective. These, in a sense, are the alphabet of your visual vocabulary. Typographic design skills are essential, and you will develop not only fluency in the range and uses of available typefaces, but insight into how people perceive textual communication. You'll know the "why" along with the "what."
The newest, most sophisticated tools help cut through the media clutter. Digital video is a discipline that has growing value in the commercial market. Learning to add sound and movement to your message will involve a skill set that encompasses the latest generation of software, as well as hands-on familiarity with our state-of-the-art editing facilities.
Another rich career area is 3D graphic design. Mastering crafts like woodworking and welding, with materials from fiberglass to Bondo, can lead to jobs in industrial design, model making, toy design, packaging and product design, to name a few.
Industry access is no farther than your nearest faculty member. Every one of our more than 100 instructors - the biggest faculty of its kind - is a working professional at the top of his or her field, from typography innovator Carin Goldberg to the dean of graphic designers, Milton Glaser, who has been teaching at SVA since 1961.
If you graduate from SVA with just the best graphic design skills, we will have failed. Our mission is to plant you in soil where you can grow as a thinker. The power of your visual communication is concept-driven; all the rest is execution. We want to turn you on to the wonder of problem solving that fulfills not just the client's needs, but yours as creator.
Once you've cultivated independent thought, you'll find your point of view. From there an individual style; from there a rewarding career.
Additional links:
Parsons School for Design (New York)
http://www.parsons.edu/departments/index.aspx
Pratt Institute (New York) http://www.pratt.edu/academics/art_design/
Cooper Union http://cooper.edu/about-us (New York)
Cranbrook Academy of Art http://www.cranbrookart.edu/Pages/2D.html
http://www.cranbrookart.edu/Pages/2D.html
Massachusetts College of Art and Design (Boston) http://www.massart.edu/
Maryland Institute College of Art (MICA) - Ellen Lupton
http://www.mica.edu/ (Baltimore)
http://www.massart.edu/ Portfolio Center (Atlanta)
http://www.portfoliocenter.com/about/programs/design/
Columbia College of Arts (Chicago)
http://www.colum.edu/Academics/Art_and_Design/Programs/graphic/index.php
http://www.portfoliocenter.com/about/programs/design/
CSU Graphic Design Programs:
California Polytechnic San Luis Obispo
http://artdesign.libart.calpoly.edu/
Long Beach State
http://www.csulb.edu/divisions/aa/catalog/2009-2010/cota/art/index.html
San Diego State
http://art.sdsu.edu/areas_of_study/
Undergraduate, Graduate
Academy of Art: San Francisco, California
The Graphic Design program embraces the entire range of visual communication. It recognizes that design is a cultural force that spans the consumer, commerce and social causes. The program provides a robust curriculum of conceptual problem solving, innovation, critical thinking and formal design as well as branding and marketing strategies. A real world approach to design assures aesthetics, functionality, value and meaning to all student projects. Students graduating from this program are well prepared to meet the rigorous challenges within the field of graphic design and are working in many of the world's most prestigious firms. The numerous awards bestowed on the students' work demonstrate the excellent approach to design and audience-based marketing strategies.
The areas of study encompass typography, print and editorial design, branding and identity, information design, packaging as well as production and presentation skills. Green strategies are very much a part of the program and issues of sustainability are strongly considered.
Potential Careers: Graphic Designer, Typographic Designer, Print Designer, Package Designer, Publication Designer, Branding and Identity Designer, Corporate Communications Designer, Environmental and Retail Designer, In House Graphic Designer, Communications Director and Music Industry/Entertainment Designer.
BFA Program Learning Outcomes
School of Graphic Design
The graduate program in Graphic Design emphasizes mastery of the profession — including narrative abilities, presentation skills, strategic thinking, problem solving and the ability to develop innovative conceptual solutions. Areas of specialized training include typography, visual literacy, identity, and print publication. Students acquire the finely tuned design skills, self-discipline and professional expertise necessary to become advanced practitioners.
The graduate student's final thesis project must integrate concept and content with technical prowess to make an original contribution to the field of graphic design. The thesis project is critically reviewed and approved by the graduate final review committee, then professionally exhibited to the industry and public.
http://www.academyart.edu/graphic-design-school/bfa_program.html
http://www.academyart.edu/graphic-design-school/mfa_program.html
Art Center: Pasadena, California
Degree: Bachelor of Fine Arts
At Art Center, Graphic Design students learn to infuse words and images with life and meaning, whether they are creating motion graphics on the latest digital equipment, or setting type by hand in Art Center’s letterpress shop.
Our program begins with an accelerated education in the formal principles of design, aesthetics and craftsmanship, after which students may specialize in a single area of graphic design or explore the full scope of communication design.
This approach is consistently validated by the awards our students win in many of the nation’s top competitions, including the Adobe Design Achievement Awards and the Broadcast Designers Association awards.
Traditional manual skills, such as hand lettering and drawing, and sophisticated graphics software are part of the same spectrum of tools available to today’s graphic designers.
We challenge students to develop their design solutions while experimenting with a wide range of media, including product packaging, book and magazine layouts, interactive communication, 3D graphics, virtual environments and the creation of graphic identities and branded experiences.
Through Transdisciplinary Studios, often sponsored by corporate clients, and Designmatters projects sponsored on behalf of humanitarian organizations, our students apply their skills to commercial and nonprofit causes while collaborating with product designers, photographers, illustrators and students from other majors.
Their education is further supplemented with courses on design history, the language of the moving image, and design research.
By learning to create solutions that are innovative, coherent, beautiful and engaging, we prepare students to become leaders in communication design—whether they plan to join an established firm, or launch a studio of their own.
Find out more about our department at artcenter.edu/gpk.
Career Opportunities
Art Direction
Book Design
Branding and Corporate Identity
Broadcast Graphics
Creative Direction in Motion Design
Digital Output Management
Environmental Graphics
Exhibition Design
Film Title Design
Information Design
Interaction Design
Interface Design
Marketing and Communications Management
Package Design
Pre-Press Production
Printing
Production Management
Publication Design (Magazines, Newspapers, Annual Reports)
Storyboarding
Typeface Design
Web Design and Development
http://www.artcenter.edu/accd/programs/undergraduate/graphic_design/about.jsp
Cal Arts: Valencia, California
The highly rigorous and structured BFA curriculum is centered around a core class covering all aspects of graphic design practice. Each year in residence builds on the experience of the previous as a sequence of additional classes explore imagemaking, typography and design history. This coursework is followed by more specialized classes in areas such as web design, motion graphics and type design.
The BFA program typically admits 15 students each year and all students are required to pass faculty reviews at the end of every academic year.
http://calarts.edu/node/10549
that graphic design is a visual practice and that ideas in graphic design are best expressed (and understood) through form, the interrelationship between words and pictures.
MFA Graphic Design
Many philosophies that motivate contemporary design are represented in the MFA curriculum, but one general philosophy – that graphic design is a visual practice and that ideas in graphic design are best expressed (and understood) through form, the interrelationship between words and pictures – underpins the structure of assigned projects, critique and the development of independent thesis work in the MFA program.
MFA Graphic Design (2-year)
The 2-year MFA curriculum focuses on the advanced exploration of form, methodology and practice, informed by a consciousness of the following contexts: contemporary practice, craft, audience, theory and history, and the constantly shifting media environment. Individual critique within a communal studio structure helps designers to develop a personal direction and agenda, intended to influence work beyond graduate school. The first-year curriculum consists of a sequence of weekly seminars in which research and studio projects are examined and discussed. The second year in residence is dedicated to developing and realizing a major thesis project that contributes to—and challenges—the graphic design community at large. In each of the two years, graduate students deepen and refine their work though a set of required and elective courses covering subjects such as type design, typography, motion graphics, design theory and design history. Visiting designers who lead short-term projects are another important aspect of the CalArts program, which consciously seeks to broaden the types of experiences offered to students within the focused studio environment.
Details of 2-Year MFA Graphic Design
MFA Graphic Design (3-year)
The Program in Graphic Design also offers a three-year MFA for talented students who have a background in visual work but only limited experience in graphic design. The first year of this program is an intensive educational experience in form-making and conceptual skills, designed to prepare students to move on to the two-year curriculum described above.
Details of 3-Year MFA Graphic Design
Each year, the MFA program accepts approximately eight students for the two-year program and five students for the three-year program. Selected MFA applicants are invited to CalArts to interview with faculty and meet with their prospective peer group. Applicants from outside the United States and those who cannot travel for an interview may be interviewed by telephone.
http://calarts.edu/node/10548
http://www.otis.edu/academics/graduate_graphic_design/index.html
http://www.otis.edu/academics/graduate_graphic_design/student_work.html
RISD: Providence, Rhode Island
The graphic design department at the Rhode Island School of Design (RISD) offers several degree programs: a four-year undergraduate BFA degree, a five-year bachelor of graphic design degree (BGD), a two year MFA degree, and a three-year MFA degree. Our mission is to educate students in the ever-expanding realm of visual communication design in a number of areas including: typography, book arts, digital and interactive media, strategic thinking, information design, and visual narrative. RISD's graduate program in Graphic Design prepares students for professional practice by emphasizing the role of social context, media and aesthetics in the production of visible language systems. Like the discipline itself, it requires a nimble and intelligent response to constant change and burgeoning technology, while building a strong foundation of formal, aesthetic and analytical knowledge.
RISD's graduate program in Graphic Design prepares students for professional practice by emphasizing the role of social context, media and aesthetics in the production of visible language systems. Like the discipline itself, it requires a nimble and intelligent response to constant change and burgeoning technology, while building a strong foundation of formal, aesthetic and analytical knowledge.
The department's accomplished professors extend the energy and ideas graduate students bring to the studio and encourage generative thinking and making. In addition, visiting designers offer varied models for practice and introduce students to resources in the larger design world.
34 grad students/ 191 undergrads
http://www.risd.edu/graduate/graphic/Default.aspx
http://gd.risd.edu/www/gallery/student/category/C11
Savannah College of Art and Design: Savannah & Atlanta, Georgia
As a communications link between supplier and consumer, the graphic designer conceives and executes concepts to inform, motivate, educate or sell.
At the core of graphic design at SCAD is conceptual thinking. Students are encouraged to view differently, shift focus, look from multiple perspectives, and to understand how perception influences meaning. At SCAD, graphic design is about more than problem-solving, as students explore the creative challenge of determining what the problems are, and what opportunities exist to explore new solutions.
At both the undergraduate and graduate levels, coursework parallels professional practice. Print and digital portfolios display professionally competitive design projects and demonstrate knowledgeable use of both print and time-based communication media.
Student projects may include promotional campaigns, logos and visual identities, multimedia/interactive projects and presentations, packaging, posters, publications, information design solutions, Internet pages, brand design, social media exchanges and more. Students also learn appropriate production techniques and methodologies.
Facilities include state-of-the-art Mac labs and presentation equipment. Students use industry-standard software applications such as the full Adobe Master Collection package.
http://www.scad.edu/graphic-design/index.cfm
http://www.scad.edu/graphic-design/mfa.cfm#programButtons
School of Visual Arts New York: New York City http://www.schoolofvisualarts.edu/ug/index.jsp?sid0=1&sid1=34
http://www.schoolofvisualarts.edu/grad/index.jsp?sid0=2&sid1=29
SVA is a graphic design school in New York City whose mission is to educate designers who aspire to be professional artists. The renowned faculty at SVA?s design school consists of more than 100 working professionals at the top of their fields who work closely with students to help them gain an in-depth understanding of scale, texture, symmetry, tension, line, color, tone, balance, contrast, pattern and the principles of perspective. Request information at admissions@sva.edu to learn more about the graphic design school at SVA.
Like busy wallpaper, images and messages surround us in our everyday lives, each visual communication demanding our attention. The competition is fierce.
Now more than ever, great design matters. It has to stand out in the avalanche of posters, ads, flyers, direct mail pieces, books, magazines, Web sites, etc., or else disappear from sight.
At SVA, you become a graphic designer who matters by developing a personal visual vocabulary that is strong in the formal principles of design and solves problems through the process of clear conceptual thought.
You start with the basics. What's mandatory is an in-depth understanding of scale, texture, symmetry, tension, line, color, tone, balance, contrast, pattern and the principles of perspective. These, in a sense, are the alphabet of your visual vocabulary. Typographic design skills are essential, and you will develop not only fluency in the range and uses of available typefaces, but insight into how people perceive textual communication. You'll know the "why" along with the "what."
The newest, most sophisticated tools help cut through the media clutter. Digital video is a discipline that has growing value in the commercial market. Learning to add sound and movement to your message will involve a skill set that encompasses the latest generation of software, as well as hands-on familiarity with our state-of-the-art editing facilities.
Another rich career area is 3D graphic design. Mastering crafts like woodworking and welding, with materials from fiberglass to Bondo, can lead to jobs in industrial design, model making, toy design, packaging and product design, to name a few.
Industry access is no farther than your nearest faculty member. Every one of our more than 100 instructors - the biggest faculty of its kind - is a working professional at the top of his or her field, from typography innovator Carin Goldberg to the dean of graphic designers, Milton Glaser, who has been teaching at SVA since 1961.
If you graduate from SVA with just the best graphic design skills, we will have failed. Our mission is to plant you in soil where you can grow as a thinker. The power of your visual communication is concept-driven; all the rest is execution. We want to turn you on to the wonder of problem solving that fulfills not just the client's needs, but yours as creator.
Once you've cultivated independent thought, you'll find your point of view. From there an individual style; from there a rewarding career.
Additional links:
Parsons School for Design (New York)
http://www.parsons.edu/departments/index.aspx
Pratt Institute (New York) http://www.pratt.edu/academics/art_design/
Cooper Union http://cooper.edu/about-us (New York)
Cranbrook Academy of Art http://www.cranbrookart.edu/Pages/2D.html
http://www.cranbrookart.edu/Pages/2D.html
Massachusetts College of Art and Design (Boston) http://www.massart.edu/
Maryland Institute College of Art (MICA) - Ellen Lupton
http://www.mica.edu/ (Baltimore)
http://www.massart.edu/ Portfolio Center (Atlanta)
http://www.portfoliocenter.com/about/programs/design/
Columbia College of Arts (Chicago)
http://www.colum.edu/Academics/Art_and_Design/Programs/graphic/index.php
http://www.portfoliocenter.com/about/programs/design/
CSU Graphic Design Programs:
California Polytechnic San Luis Obispo
http://artdesign.libart.calpoly.edu/
Long Beach State
http://www.csulb.edu/divisions/aa/catalog/2009-2010/cota/art/index.html
San Diego State
http://art.sdsu.edu/areas_of_study/
Saturday, November 7, 2009
Packaging Links to check out
Here are some of my favorite packaging links for design students
http://www.thedieline.com/
http://www.slideshare.net/stratigo/the-best-package-designs-in-the-world-2111196
http://dzineblog.com/2008/04/packaging-design-inspiration.html
http://designerscouch.org/show_news/127/the-amazing-packaging-design-of-ramm-nd.html
http://dustbowl.wordpress.com/2009/03/13/amazing-packaging-design/
http://abduzeedo.com/amazing-package-designs
http://www.smashingmagazine.com/2008/06/02/beautiful-and-expressive-packaging-design/
http://www.designer-daily.com/30-amazing-packaging-designs-for-your-inspiration-4644
http://www.1designperday.com/2009/10/29/5-amazing-packaging-designs/
http://www.packagingoftheworld.com/
Sustainability
http://www.packagedesignmag.com/sustainableresource/
http://www.dynamicgraphics.com/dgm/Article/28834/
http://www.worldchanging.com/archives//005634.html
http://www.thedieline.com/
http://www.slideshare.net/stratigo/the-best-package-designs-in-the-world-2111196
http://dzineblog.com/2008/04/packaging-design-inspiration.html
http://designerscouch.org/show_news/127/the-amazing-packaging-design-of-ramm-nd.html
http://dustbowl.wordpress.com/2009/03/13/amazing-packaging-design/
http://abduzeedo.com/amazing-package-designs
http://www.smashingmagazine.com/2008/06/02/beautiful-and-expressive-packaging-design/
http://www.designer-daily.com/30-amazing-packaging-designs-for-your-inspiration-4644
http://www.1designperday.com/2009/10/29/5-amazing-packaging-designs/
http://www.packagingoftheworld.com/
Sustainability
http://www.packagedesignmag.com/sustainableresource/
http://www.dynamicgraphics.com/dgm/Article/28834/
http://www.worldchanging.com/archives//005634.html
Wednesday, October 7, 2009
Branding briefs
What about creating a branding brief for your portfolio process pages. It is a way to push your work and thing about the emotional qualities of your brand.
Here is an example:
El Cubano Hotel & Casino
The El Cubano brand is young adult male with a secondary target audience that is young adult and female.
It is upper middle class and global in scope.
The personality of El Cubano brand can best be described by these adjectives:
Friendly-the people of Cuba
Exciting, energetic-rumba beat
Creative-use of colors, dance and music styles
Flamboyant and loud-way Cubans talk-needs to be noticed
These emotional reasons emerge to define the brand personality.
El Cubano is the friendly bongo player during pre-Communist times in Cuba who has just finished his night of playing with the rumba band and is ready to party down. He is friendly, exciting, creative and flamboyant. He wears a white ruffled sleeve shirt and has a cool sense of style that attracts attention.
This personality will create a connection to our target consumers who are young, upper middle class men with an interest in international art, culture and music. A secondary target is women who are attracted to the style and flair of this personality.
Core values are the values our brand is built on and are the foundation of our company and the pillars of every message we deliver.
Core values: El Cubano brand is energetic and ready for stylish fun.
Brand message: Our key message is that El Cubano Hotel & Casino is the place to party and play.
Brand personality: El Cubano brand is flamboyant, full of energy, creative and flamboyant.
Brand Icons-The following tools will be used to deliver our brand message and personality.
Colors: pink, orange and red
Bright and energetic patterns and textures inspired from Cuba
Temperature is hot from all night dancing and partying
Smell is tropical breezes, coconuts, cigars
Layouts have a musical sense of play and rhythm
Textures include wooden cigar boxes, cigar leaves
Typefaces: Tahoma which suggests dancing
Voice overs: Cuban accents with energy and vivaciousness
Music: high energy Cuban rumba beats, conga drums, bass, rhythm instruments such as maracas, guitars and bongos
Here is an example:
El Cubano Hotel & Casino
The El Cubano brand is young adult male with a secondary target audience that is young adult and female.
It is upper middle class and global in scope.
The personality of El Cubano brand can best be described by these adjectives:
Friendly-the people of Cuba
Exciting, energetic-rumba beat
Creative-use of colors, dance and music styles
Flamboyant and loud-way Cubans talk-needs to be noticed
These emotional reasons emerge to define the brand personality.
El Cubano is the friendly bongo player during pre-Communist times in Cuba who has just finished his night of playing with the rumba band and is ready to party down. He is friendly, exciting, creative and flamboyant. He wears a white ruffled sleeve shirt and has a cool sense of style that attracts attention.
This personality will create a connection to our target consumers who are young, upper middle class men with an interest in international art, culture and music. A secondary target is women who are attracted to the style and flair of this personality.
Core values are the values our brand is built on and are the foundation of our company and the pillars of every message we deliver.
Core values: El Cubano brand is energetic and ready for stylish fun.
Brand message: Our key message is that El Cubano Hotel & Casino is the place to party and play.
Brand personality: El Cubano brand is flamboyant, full of energy, creative and flamboyant.
Brand Icons-The following tools will be used to deliver our brand message and personality.
Colors: pink, orange and red
Bright and energetic patterns and textures inspired from Cuba
Temperature is hot from all night dancing and partying
Smell is tropical breezes, coconuts, cigars
Layouts have a musical sense of play and rhythm
Textures include wooden cigar boxes, cigar leaves
Typefaces: Tahoma which suggests dancing
Voice overs: Cuban accents with energy and vivaciousness
Music: high energy Cuban rumba beats, conga drums, bass, rhythm instruments such as maracas, guitars and bongos
Monday, September 28, 2009
Notes from Portfolio Workshop with Sean Bacon
We really have to thank portfolio alumni Sean Bacon for coming to class and jump-starting the 2010 portfolios. These tips and notes are from our session with Sean.
Printing: Suggest indigo printing at Blend but the maximum format is 11 by 17 [this includes bleeds]. If you want a larger size go with digital printing at Blend.
For your own printer at home: Prixma Pro 9000
Check on the ink costs first [upkeep]
If you are printing at home…start looking for inkjet paper. There is heavy competition for paper so plan ahead.
printmorespendless.com They have good deals on print cartridges.
8 by 18 was Sean’s portfolio. He had that printed on 13 by 19. If you get your book professionally printed [quantity is not the issue but set up]. Sean printed 6 copies.
Go to Kelly or Expedex to talk paper. Sean likes Expedex [Aero Drive] as you need to order your paper ahead of time. You need to know more or less the size you want it to be. Do you want it coated, glossy, matte-they will talk you through it. Don’t make the vendors an afterthought. Sean charted everything and made lists so he was really organized and it helped him by making a checklist.
Book Covers: Western Bookbinding and Golden Rule
International binding and Custom binding for rings
Pockets: Sean likes Scotch double stick tape for his pockets but you can also use spray mount. He made a custom jig out of cardboard to cut the shape. Desi made her pockets with a folded lip/tab at the bottom to make more space.
Sean likes the dynamic rectangles for layout best
Root 2
Start with a circle and a square. Put the square inside the circle so all the corners touch the circle. Extend the height of the square so that it’s new height is tangent with the top and bottom of the circle.
Root 3
Start with a hexagon and rectangle. All sides are same size, hold down shift when you make it. Put a perfect rectangle inside and this is a root 3.
Root 4
Start with root 3 and get that root 3 shape. Turn it on it’s side and draw a diagonal line from corner to corner. Take the line and straighten it out [it is just a tiny bit longer than that rectangle]. Add on that much more so that the width is the same length.
Root 5
Start with a circle and square. Take circle-divide it in half [dash line]. Put the square on center line and then draw the top line where it intersects with circle. This time you add the rectangles on the side. Pathfinder shape together and it becomes root 5.
Draw your dynamic rectangle grid first by hand, make it in illustrator .25 and an 80% gray and then put it on your master page so he is constantly looking at grid. You can right click it in InDesign and make it a non-printing item. Sean puts grid in background but ignores it first but uses the grid to clean up and then uses the grid as tool to make that consistency at the end. Work intuitively first then clean up with the grid.
SELECTING YOUR FONTS
Started with type specimen sheets-looked at it large, small and different orientations. Look for contrast between the two and unity like they belong together. Mixing type-Look at things like the letter a [are they both a double story a-they should be] look at the g [look at structural elements in both]. You might start out with one font you absolutely know you want and then go after the pairing.
You might want to just use Univers for the whole job.
There is body copy and everything else so establish a system [use one font for body copy and the other font for everything else]. Avoid display type in general. You don’t want the type to be more showy than the words-you want them to read your words.
Indices are good place to mix the two fonts. Example: Project description [one font] and name [the other font].
Like the Bauhaus you can put that grid in a smaller area.
The 30 typefaces for a lifetime by Rockport.
Classic fonts like Gil Sans Frutiger, Bembo, Garamond, Bodoni, Univers, Futura, Helvetica etc.
Great font book resources:
Adobe Type Library, ITC Library,
Free Font Index 1 [Buy this book]-they are not the workhorse fonts but great resource for projects.
Sudtipos [Alejandro Paul-a font designer from Argentina] check out this work
Exljbris Foundry [some serious fonts for free!]
FontBook [book of typefaces] expensive but wow.
Example Meta and Meta serif designed by Eric Spiekermann were designed to be put together.
Selecting typography
Sean used Stratum and Egyptienne
Suggest using workhorse fonts-a family with lots of options. You most likely will mix serif and sans serif. Look at the weights, sizes and styles you get, look at the form-purchase the font [it is your identity-invest in the craft-your promo materials everything]. If you don’t buy the font then use something that everyone knows like Universe or use something more obscure that is well drawn-be very careful. Many of the free fonts are not workhorse and are not kerned properly so you set yourself up for failure. Of course if you are mixing two fonts the key rule is contrast.
Printing: Suggest indigo printing at Blend but the maximum format is 11 by 17 [this includes bleeds]. If you want a larger size go with digital printing at Blend.
For your own printer at home: Prixma Pro 9000
Check on the ink costs first [upkeep]
If you are printing at home…start looking for inkjet paper. There is heavy competition for paper so plan ahead.
printmorespendless.com They have good deals on print cartridges.
8 by 18 was Sean’s portfolio. He had that printed on 13 by 19. If you get your book professionally printed [quantity is not the issue but set up]. Sean printed 6 copies.
Go to Kelly or Expedex to talk paper. Sean likes Expedex [Aero Drive] as you need to order your paper ahead of time. You need to know more or less the size you want it to be. Do you want it coated, glossy, matte-they will talk you through it. Don’t make the vendors an afterthought. Sean charted everything and made lists so he was really organized and it helped him by making a checklist.
Book Covers: Western Bookbinding and Golden Rule
International binding and Custom binding for rings
Pockets: Sean likes Scotch double stick tape for his pockets but you can also use spray mount. He made a custom jig out of cardboard to cut the shape. Desi made her pockets with a folded lip/tab at the bottom to make more space.
Sean likes the dynamic rectangles for layout best
Root 2
Start with a circle and a square. Put the square inside the circle so all the corners touch the circle. Extend the height of the square so that it’s new height is tangent with the top and bottom of the circle.
Root 3
Start with a hexagon and rectangle. All sides are same size, hold down shift when you make it. Put a perfect rectangle inside and this is a root 3.
Root 4
Start with root 3 and get that root 3 shape. Turn it on it’s side and draw a diagonal line from corner to corner. Take the line and straighten it out [it is just a tiny bit longer than that rectangle]. Add on that much more so that the width is the same length.
Root 5
Start with a circle and square. Take circle-divide it in half [dash line]. Put the square on center line and then draw the top line where it intersects with circle. This time you add the rectangles on the side. Pathfinder shape together and it becomes root 5.
Draw your dynamic rectangle grid first by hand, make it in illustrator .25 and an 80% gray and then put it on your master page so he is constantly looking at grid. You can right click it in InDesign and make it a non-printing item. Sean puts grid in background but ignores it first but uses the grid to clean up and then uses the grid as tool to make that consistency at the end. Work intuitively first then clean up with the grid.
SELECTING YOUR FONTS
Started with type specimen sheets-looked at it large, small and different orientations. Look for contrast between the two and unity like they belong together. Mixing type-Look at things like the letter a [are they both a double story a-they should be] look at the g [look at structural elements in both]. You might start out with one font you absolutely know you want and then go after the pairing.
You might want to just use Univers for the whole job.
There is body copy and everything else so establish a system [use one font for body copy and the other font for everything else]. Avoid display type in general. You don’t want the type to be more showy than the words-you want them to read your words.
Indices are good place to mix the two fonts. Example: Project description [one font] and name [the other font].
Like the Bauhaus you can put that grid in a smaller area.
The 30 typefaces for a lifetime by Rockport.
Classic fonts like Gil Sans Frutiger, Bembo, Garamond, Bodoni, Univers, Futura, Helvetica etc.
Great font book resources:
Adobe Type Library, ITC Library,
Free Font Index 1 [Buy this book]-they are not the workhorse fonts but great resource for projects.
Sudtipos [Alejandro Paul-a font designer from Argentina] check out this work
Exljbris Foundry [some serious fonts for free!]
FontBook [book of typefaces] expensive but wow.
Example Meta and Meta serif designed by Eric Spiekermann were designed to be put together.
Selecting typography
Sean used Stratum and Egyptienne
Suggest using workhorse fonts-a family with lots of options. You most likely will mix serif and sans serif. Look at the weights, sizes and styles you get, look at the form-purchase the font [it is your identity-invest in the craft-your promo materials everything]. If you don’t buy the font then use something that everyone knows like Universe or use something more obscure that is well drawn-be very careful. Many of the free fonts are not workhorse and are not kerned properly so you set yourself up for failure. Of course if you are mixing two fonts the key rule is contrast.
Resistance
RESISTANCE
Balance-lack of: Reassess priorities, task management, work smarter not harder
Critical of self: have realistic expectations, know that some things take time, look at your positives and not always your negatives, look where you are at this point of life and where you’ve come, get someone you trust who is supportive, look at good things you’ve done.
Critical of others: know the difference between being critical and being cruel, compliment someone, not a personal attack but be constructive
Conformity: See a trend and run in the opposite direction and even if it does not work out you got somewhere that is different. Jump beyond trends and take risks. Look to other disciplines that are related like furniture, architecture, look farther back in history not to the latest design publications
Drugs/Alcohol: get abuse counseling, remember moderation, get family and friend support, seek help
Deadlines-fear of: have realistic expectations, don’t procrastinate, time management, set more achievable goals, digestible bite goals
Discipline-to work not play: time management, reward yourself for hard work, take breaks [regular], balance so make time for both
Distractions: know what kind of environment/workspace works for you, find good distraction [background noise], taking the phone and email out of your workspace, assess how you waste time by keeping a log
Depression-talk to friends and loved ones, writing in a journal, write a note to a friend [don’t need to send it], exercise, getting involved in something you like or enjoy, professional counseling, medication, meditation, get to the root of it
Exhaustion-making time for yourself, make a date with yourself once a week, stretch, get sleep, taking care of yourself, proper diet and exercise, see a doctor, take a short break or power nap
Fear of failure-think positive, realize it is not going to kill you, go for it, know that you are always learning, risks are worth taking, what is the worst that can happen? You are your own worst enemy
Fear of success-setting goals, prioritizing goals, talk to people in field
Grandiose visions of future-to be realistic, have patience, live in moment, enjoy present, focus on the short term
Guilt-ignoring loved ones- talk to them and get them on your side in advance, being clear when you communicate, set boundaries, make specific time for them, divorce yourself from their immediate reactions
Lack of reality-do something selfless, volunteering, talk to a professional
Loss of loved ones- managing your time and life here and think that they would want you to be doing what you want in your life, counseling, grief counseling, giving yourself the opportunity to feel sad and grieve, grab the glimmers of feeling good-try to find things that make you feel good
Laziness- Remove distractions that may lead you to laziness. Remind yourself of the bigger picture, of the end result. Partner up with someone that can motivate you.
Loneliness in life – Don’t isolate yourself from those around you. Reach out to others and surround yourself with those you have fun with or connect with.
Lonely in the portfolio process – Reach out to others in class. Create a group or partnership.
Motivation-lack of - Give yourself rewards for your accomplishments. Give yourself something to look forward to. Evaluate yourself and how strong your lack of motivation is and how often. Perhaps you need to re-evaluate what you are doing. Find something you are passionate about.
Overachiever – Evaluate your limits and set realistic goals. Plan out your process and use time management. This can help if you find yourself doing too much.
Perfectionism – Learn to let go and relax. Consult with friends or other designers and have them look at your work. Take a break and come back to your work.
Paralysis of thought and action – Take a break. Find or do something that inspires you.
Procrastination – Make a plan or to do list and follow it. Spread out your work so you don’t need to do too much at once.
Rationalize Things – Instead of talking yourself out of something, open up to taking risks and plan it out. Do your research before deciding something isn’t worth the time. “Trust that little voice inside your head that says, “Wouldn’t it be interesting if…” and then do it.” – Duane Michals
Scared of taking risks: Turn to someone who takes risks for inspiration. Start saying Yes to things you would not normally do. Start small build up your risk factor... travel and find new experiences
Self Doubt: Keep realistic goals. find the positive in your work. Seek reassurance from a mentor/ someone you look up to.
Lack of support: Build network, surround yourself with positive people, seek the advice of someone who is a fan or supportive of your work
Sadness: Read positive thinking book, Exercise or become more active/ productive to increase endorphins, take a weekend off or a spa day.
Not enough time: Make a schedule and stick to it. Make realistic deadlines.
Time management: (see "not enough time"
Fear of the unknown: Focus on what is happening right now. Do not look too far ahead. Travel to find the unknown. Further educate yourself to expand your knowledge.
Weakness turning into strength: Research your weakness and focus on the strengths you possess within yourself
Balance-lack of: Reassess priorities, task management, work smarter not harder
Critical of self: have realistic expectations, know that some things take time, look at your positives and not always your negatives, look where you are at this point of life and where you’ve come, get someone you trust who is supportive, look at good things you’ve done.
Critical of others: know the difference between being critical and being cruel, compliment someone, not a personal attack but be constructive
Conformity: See a trend and run in the opposite direction and even if it does not work out you got somewhere that is different. Jump beyond trends and take risks. Look to other disciplines that are related like furniture, architecture, look farther back in history not to the latest design publications
Drugs/Alcohol: get abuse counseling, remember moderation, get family and friend support, seek help
Deadlines-fear of: have realistic expectations, don’t procrastinate, time management, set more achievable goals, digestible bite goals
Discipline-to work not play: time management, reward yourself for hard work, take breaks [regular], balance so make time for both
Distractions: know what kind of environment/workspace works for you, find good distraction [background noise], taking the phone and email out of your workspace, assess how you waste time by keeping a log
Depression-talk to friends and loved ones, writing in a journal, write a note to a friend [don’t need to send it], exercise, getting involved in something you like or enjoy, professional counseling, medication, meditation, get to the root of it
Exhaustion-making time for yourself, make a date with yourself once a week, stretch, get sleep, taking care of yourself, proper diet and exercise, see a doctor, take a short break or power nap
Fear of failure-think positive, realize it is not going to kill you, go for it, know that you are always learning, risks are worth taking, what is the worst that can happen? You are your own worst enemy
Fear of success-setting goals, prioritizing goals, talk to people in field
Grandiose visions of future-to be realistic, have patience, live in moment, enjoy present, focus on the short term
Guilt-ignoring loved ones- talk to them and get them on your side in advance, being clear when you communicate, set boundaries, make specific time for them, divorce yourself from their immediate reactions
Lack of reality-do something selfless, volunteering, talk to a professional
Loss of loved ones- managing your time and life here and think that they would want you to be doing what you want in your life, counseling, grief counseling, giving yourself the opportunity to feel sad and grieve, grab the glimmers of feeling good-try to find things that make you feel good
Laziness- Remove distractions that may lead you to laziness. Remind yourself of the bigger picture, of the end result. Partner up with someone that can motivate you.
Loneliness in life – Don’t isolate yourself from those around you. Reach out to others and surround yourself with those you have fun with or connect with.
Lonely in the portfolio process – Reach out to others in class. Create a group or partnership.
Motivation-lack of - Give yourself rewards for your accomplishments. Give yourself something to look forward to. Evaluate yourself and how strong your lack of motivation is and how often. Perhaps you need to re-evaluate what you are doing. Find something you are passionate about.
Overachiever – Evaluate your limits and set realistic goals. Plan out your process and use time management. This can help if you find yourself doing too much.
Perfectionism – Learn to let go and relax. Consult with friends or other designers and have them look at your work. Take a break and come back to your work.
Paralysis of thought and action – Take a break. Find or do something that inspires you.
Procrastination – Make a plan or to do list and follow it. Spread out your work so you don’t need to do too much at once.
Rationalize Things – Instead of talking yourself out of something, open up to taking risks and plan it out. Do your research before deciding something isn’t worth the time. “Trust that little voice inside your head that says, “Wouldn’t it be interesting if…” and then do it.” – Duane Michals
Scared of taking risks: Turn to someone who takes risks for inspiration. Start saying Yes to things you would not normally do. Start small build up your risk factor... travel and find new experiences
Self Doubt: Keep realistic goals. find the positive in your work. Seek reassurance from a mentor/ someone you look up to.
Lack of support: Build network, surround yourself with positive people, seek the advice of someone who is a fan or supportive of your work
Sadness: Read positive thinking book, Exercise or become more active/ productive to increase endorphins, take a weekend off or a spa day.
Not enough time: Make a schedule and stick to it. Make realistic deadlines.
Time management: (see "not enough time"
Fear of the unknown: Focus on what is happening right now. Do not look too far ahead. Travel to find the unknown. Further educate yourself to expand your knowledge.
Weakness turning into strength: Research your weakness and focus on the strengths you possess within yourself
Sunday, August 30, 2009
Coming up with ideas
The surrealists were masters at putting the familiar in an unfamiliar setting. This is a simple method I've used for decades to come up with fresh concepts to solve graphic problems. In this example imagine you've been given the assignment to create a visual for an article on Growing the Green Economy.
Start by writing out the name of the article and select the key words.
Underneath each key word make a word list-free associate and write quickly any idea that comes to mind to represent that key word. Your list should be really long to find the best solution.
Force connections between the two key words. Put the familiar in an unfamiliar setting.
What about a piggy bank shaped like the U.S. Treasury building or a bank? What about a dollar bill that looks like astro turf and sprouting wildflowers?
Make small thumbnail sketches of how you would force connections between column one and two and simply go down the list trying out each idea. In this example I have a drawing of a figure watering a small plant that is a dollar sign.
Note: click play and let this short video completely upload, take a short break and come back and you can watch it all the way through.
Wednesday, August 26, 2009
Angie Stamos-Guerra at the portfolio review
These photos showcase the amazing table display of Angie Stamos-Guerra who won second place in the 2009 AIGA San Diego portfolio review.
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