Due 12.10.09

Presentations, 2 page research paper and outline/notes due at 8:30 pm Thursday 12.10.09.

Sketchbooks due every Thursday. New assignment each week.
This weeks assignment: show sketches of a product redesign, using typography as the strongest design element in packaging.

Pop quiz every Wednesday beginning of class on assigned chapter from Typographic Design: Form and Communication.

See you at 7.

Female Typographers.

Non-existent Design: Women and the Creation of Type

by Sibylle HagmannAugust 22, 2006

When invited to participate in an exhibition about typefaces, called Frische Schriften/Fresh Type, in the Museum of Design in Zürich in 2004, I was the only female out of more than 25 designers to exhibit recent digital font designs. This fact went almost entirely unmentioned in the accompanying catalog published on the occasion of the exhibition, with the exception of François Rappo’s contribution. His essay “Write It, Damn You, Write It!” ( Janser, 2004) very briefly acknowledges the lack of gender diversity among type designers: What about the “softer” culture-oriented fields, the “gender bent?” How does the “techno” thematic emphasis [form] fit in with the realization, be it simply empirical, that the designers represented here (but also in graphic design in general) are predominantly and insistently male? (p. 86) Rappo raises the issue of gender in relation to design and the stereotypical association between technology and masculinity. Being the only female invited among these boy whiz kids, I put the blame first on the country’s retrogressive gender equality, and second–stereotyping myself–on women’s reluctance to deal with technology. But somehow these explanations for the lack of female representatives didn’t completely satisfy me, especially since over time I came across other signs that indicated a global predominance of male type designers. One hint of this is TypeBase, an online type site listing type creators and offering detailed information on 31 designers, of whom Émigré co-founder Zuzana Licko is the only woman designer featured. This lack of gender diversity is also evident in publications featuring type designs, which are perhaps unintentionally filled with alphabets created by a majority of male designers. To this day, there are very few women who have made it into the ranks of accomplished and industry-accepted type designers. Out of the 478 font designers represented by the Linotype type foundry only 59 (12.3%) are female. A brief survey of the gender of invited speakers at recent international typographic conferences such as ATypI, TypeCon, and Typo Berlin also discloses strikingly unequal numbers: for example, ATypI (2003, 2004) and TypeCon (2003, 2004) reveal an average of 15 percent female contributors (Figure 1). Out of the total of 68 invited presenters at the Typo Berlin (2004) only 5 were female. The current climate still prevailing at type conferences is one of male “type gurus.” According to an entry in Typographica, an online journal of typography and a popular blog site, the program planning committee for the 2004 ATypI conference–Crossroads of Civilization in Prague–consisted of nine prominent, male typographers. Women subconsciously have to conform to the conference culture around them. In 1994 (11 years ago), the Women’s Design Research Unit (WD+RU) was established as a response to the male-dominated platform of speakers for the London FUSE ‘94, the interactive publication and conference for innovative typeface design. The problem of exclusion of female professionals was inadvertently stressed. It became obvious that the profession was not accurately represented in terms of female contributors. Apparently the situation has not evolved much since then. This article aims to shed light on the reasons behind the scarcity of female type designers and attempts to suggest strategies for remedying the situation. Some of the questions under discussion are: What measures could be taken to improve gender inequality in the field of typography in the 21st century? What would be the value of more women designing type and contributing to typography? What forms of unconscious resistance are there that hold women back from feeling part of type design and typographic culture?

Reprinted by permission of Sage Publications Ltd from Sibylle Hagmann, Assistant Professor, University of Houston (© Sage Publications, 2005)

MLA FORMATTING AND STYLE GUIDE.

http://owl.english.purdue.edu/owl/resource/557/01/

General Format

MLA style specifies guidelines for formatting manuscripts and using the English language in writing. MLA style also provides writers with a system for referencing their sources through parenthetical citation in their essays and Works Cited pages.

Writers who properly use MLA also build their credibility by demonstrating accountability to their source material. Most importantly, the use of MLA style can protect writers from accusations of plagiarism, which is the purposeful or accidental uncredited use of source material by other writers.

If you are asked to use MLA format, be sure to consult the MLA Handbook for Writers of Research Papers (7th edition). Publishing scholars and graduate students should also consult the MLA Style Manual and Guide to Scholarly Publishing (3rd edition). The MLA Handbook is available in most writing centers and reference libraries; it is also widely available in bookstores, libraries, and at the MLA web site. See the Additional Resources section of this handout for a list of helpful books and sites about using MLA style. For an overview of the 2009 guideline changes, please visit the OWL's MLA Update 2009 resource.

Paper Format

The preparation of papers and manuscripts in MLA style is covered in chapter four of the MLA Handbook, and chapter four of the MLA Style Manual. Below are some basic guidelines for formatting a paper in MLA style.

General Guidelines

• Type your paper on a computer and print it out on standard, white 8.5 x 11-inch paper.
• Double-space the text of your paper, and use a legible font (e.g. Times New Roman). Whatever font you choose, MLA recommends that the regular and italics type styles contrast enough that they are recognizable one from another. The font size should be 12 pt.
• Leave only one space after periods or other punctuation marks (unless otherwise instructed by your instructor).
• Set the margins of your document to 1 inch on all sides.
• Indent the first line of paragraphs one half-inch from the left margin. MLA recommends that you use the Tab key as opposed to pushing the Space Bar five times.
• Create a header that numbers all pages consecutively in the upper right-hand corner, one-half inch from the top and flush with the right margin. (Note: Your instructor may ask that you omit the number on your first page. Always follow your instructor's guidelines.)
• Use italics throughout your essay for the titles of longer works and, only when absolutely necessary, providing emphasis.
• If you have any endnotes, include them on a separate page before your Works Cited page. Entitle the section Notes (centered, unformatted).

Formatting the First Page of Your Paper

• Do not make a title page for your paper unless specifically requested.
• In the upper left-hand corner of the first page, list your name, your instructor's name, the course, and the date. Again, be sure to use double-spaced text.
• Double space again and center the title. Do not underline, italicize, or place your title in quotation marks; write the title in Title Case (standard capitalization), not in all capital letters.
• Use quotation marks and/or italics when referring to other works in your title, just as you would in your text: Fear and Loathing in Las Vegas as Morality Play; Human Weariness in "After Apple Picking"
• Double space between the title and the first line of the text.
• Create a header in the upper right-hand corner that includes your last name, followed by a space with a page number; number all pages consecutively with Arabic numerals (1, 2, 3, 4, etc.), one-half inch from the top and flush with the right margin. (Note: Your instructor or other readers may ask that you omit last name/page number header on your first page. Always follow instructor guidelines.)

Brilliant.

Center for Architecture symbol designed by Michael Gericke.

Class Assignment recap.

2 hours of drawing:

4 obj in house... or... self portrait in color. Due Wednesday, July 29.

Reading:

Meggs chapters 5-9

Essay:

"Cult of Graphic Design" reflection. Write a brief essay [200 words] that expresses your opinions on the reading from Looking Closer 5. Due Thursday, July 30.

Visual Journal:

Find 5 logos to present and discuss in class on Wednesday, July 29. They can be popular, obscure, well designed or poorly designed.

Due Thursday 7/23

Visual Journal: 1 BW magazine ad + 1 Color magazine ad.

The Beauty Part Essay.

Read Chapters 5-9 in Meggs.

Have a lovely evening!

Thinking Life will be Better in the Future is Stupid. I have to Live Now.

— SAGMEISTER

Complaining is Silly... Either Act or Foget.

— SAGMEISTER

Guest Speaker, Wednesday, July 22

Adam Holcomb

• 944 Creative Director

• Collins College Alumni

Be prepared to ask questions! Check out some of his work.

www.14113.net

Homework:

Visual Journal: 2 Billboards

Reading: 

Looking Closer 5 page 167, The Cult of Graphic Design

Exercises 2 + 3

EXERCISE 2

Cartouche / Rebus

Design a personal cartouche or rebus 

Cartouches and rebuses were a way for pictogram to be used as phonetic letters. Create a personal cartouche or rebus -  

choose symbols or visuals that have meaning for you. 

 

• Use symbols, found or created, as phonograms to represent your name. 

• Pay attention to the overall design, syntax and effect on your viewer. 

• Final should be large enough for presentation. 

• Project should appear professional and well thought out. 

• Be prepared to present your work and explain the concept to the class. 

• Remember to be CREATIVE! 

EXERCISE 3

The Beauty Part Essay

Read “The Beauty Part” by Rick Poyner in “Looking Closer Five”. 

Write a 300 word essay which expresses your views on what The Beauty Part means in todays world of graphic design. Your essay must be typed, double spaced with 10-12pt type. Make sure you proof your work.

Welcome New Students to Collins College and the Intro to Graphic Design.

Reading Homework: 

Meggs — ch. 1-4

Looking Closer 5 — pgs. 16-23 & 43-45

Redesigns Happening Now.

before... after. seems like things are looking simpler? 

back to a classic look.

"Miracle Whip, the zingy alternative to mayo, has apparently seen better days in terms of mayo-alternative ubiquity and has re-entered the market positioning itself to the 18-to-34-year-old demographic. Which typically means some sort of social application, in their case Zingr, but that’s the least interesting part of this. The new label and logo are remarkably Old School, reversing the order of Before/Afters in consumer packaging by ditching the swirls and overly friendly and loopy typography for an almost disarming simplicity. Apparently all the thrift shopping of vintage stuff by the 18- and 34-year-olds has finally paid off and that oldish look can feel new again. Fingers crossed, this will be the first of many consumer brands to revert back from the crazy scripts and wild backgrounds."

http://www.underconsideration.com/brandnew

Since moving to the U.S. in 1999 I have eaten a lot of burritos. A lot. As delicious as they are, they are highly responsible for my irresponsible weight gain as I went from college, home-cooked meals and almost daily basketball practice to join the workforce, eat take-out and lounge around watching TV. And burritos. So, I think I know burritos. And one of my favorite all-time burritos comes not from a hole-in-the-wall restaurant in a distant neighborhood but from a fast-food chain with more than 800 locations across the U.S.: Chipotle. They are invariably fresh, tasty, well-packed and properly packaged. Aside from the upstanding quality of the burrito they serve, Chipotle stood out as a comfortable and eccentric setting to enjoy a burrito, with its funky art, weird furniture and aluminum siding decor. And, even, its Papyrus-like logo stood out from the fast-food norm. Actually, I didn’t even notice when they switched away from it and into the circle logo shown in the image above, which has evolved into a new identity designed by San Francisco-based Sequence.

http://www.underconsideration.com/brandnew

The Sagmeister.

AIGA poster.

Calendar.

:)

Class continues, until the Tuesday the 16th.

Career opportunities presentation will be due on the 15th. 

[please email me at clobato@collinscollege.edu to let me know your option choice.]

Final exam will be the 16th.

Thank you & sorry for the confusion.

Calendar confusion.

This calendar matter will be settled by end of day 6.3.09... so please stay posted.

Great presentations, your boxes turned out to be great examples of graphic design artifacts.

Goodnight.

Visual Code

effectively communicating an emotion, message, idea through graphic design.

The Medium of Visual Communication

All communication takes place through language - But not all language uses words.

We inherently read visual code. 

Consider non-verbal language:

• Body Language

• Sound

• Space

• Smell

• Touch

• Color

• Texture

Emotional Response

due beginning of class 6/8/09

Write a 300 word essay on the importance of evoking an emotional or physical response from your target audience and how you as the designer can impact the degree of the emotional response from your target audience.

Beautiful & Ugly EXERCISE

Due: 6.2.2009

Bring in a box marked “Beautiful” and another marked “Ugly.” Place five graphic design artifacts in each. Come to class prepared to explain your rationale for the placement of the objects.

• Take in to consideration color, symbolism, clarity, taste, visual code. 

• Final format should be large enough for presentation.

• Project should appear professional and well thought out.

• Be prepared to present your work and explain the concept to the class.

• Remember to be CREATIVE & use your design intuition.

• Graded on Presentation, Professionalism, Creativity, Craftsmanship, Concept / Idea.

Campbells Soup. American Icon.

The Campbell's Soup can, label design, brand, colors & imagery came to my mind this evening during a lecture on visual code.

The label design has not seen a dramatic change since 1898. 

Ask yourself why?

History

Campbell's was founded in 1869 by Joseph A. Campbell and Abraham Anderson, an icebox manufacturer. The company was originally called the "Joseph A. Campbell Preserve Company" and produced canned tomatoes, vegetables, jellies, soups, condiments, and minced meats

By 1896, Anderson left the partnership, leaving Campbell to reorganize and form a new company, Joseph Campbell & Co. In 1897, a nephew of one of the new Campbell partners, Dr. John T. Dorrance, began working for the company at a wage of $7.50 a week. Dorrance, a gifted chemist with degrees from MIT and Göttingen University, Germany, developed a commercially viable method for condensing soup by halving the quantity of its heaviest ingredient: water. 

In 1898, Herberton Williams, a Campbell's executive, convinced the company to adopt a cherry red and bright white color scheme, because he was taken by the crisp colors of the Cornell University football team's uniforms. To this day, the layout of the can, with its red and white design and the metallic gold medal seal from the 1900 Paris Exhibition, has changed very little.

Campbell's Soup Cans by Andy Warhol, displayed in the Museum of Modern Art, New York

Campbell Soup became one of largest food companies in the world under the leadership of William Beverly Murphy. He was elected executive vice president of Campbell Soup in 1949 and was president and CEO from 1953 to 1972. While at Campbell's Soup Company, he took the corporation public and increased its brand portfolio to include Pepperidge Farm's breads, cookies, and crackers, Franco-American's gravies and pastas, V8 vegetable juices, Swanson broths, and Godiva's chocolates.

Campbell Soup invested heavily in advertising since its inception, and many of its promotional campaigns have proven value in the Americana collectible advertising market. Perhaps best known are the "Campbell Kids" who though color scheme represented the recognizable soup. Ronald Reagan was a spokesman for V8 when it was first introduced. A "pretty groovy deal" in 1968 offered a paper Souper Dress available for $1.00 and two labels. Also produced were Campbell's Menu Books and Help for the Hostess series of cookbooks. One of the longest lasting recipes, but certainly odd to modern tastebuds, is the recipe for a maroon colored Tomato Soup Cake.

some slogans:

"m'm m'm good"

"look for the red and white label"

this is very impressive when you are standing directly in front of it. the piece covers a large wall in moma, ny.

2004 limited edition soup cans. celebrated andy warhol's americana / pop art.

When the art critic G.R. Swenson asked Warhol in 1963 why he painted soup cans, the artist replied, "I used to drink it, I used to have the same lunch every day, for twenty years.

In Pop Art

The ubiquitous red-and-white icon became fodder for Andy Warhol, the 1960s pop counter-culture artist, in his famous series of iconic Campbell's Soup Can images from 1962 to 1968. Each can, hand painted to perfection and almost machine like in quality glorified the simplistic white and red cans with their gold seal as an American icon. Every detail was considered just as the original down to the gold and black script of the word ‘SOUP’ to the simple red print of each flavor. These images are some of the artist's best work, many of which are on display at the Andy Warhol Museum in Pittsburgh, Pennsylvania.

To celebrate this, in 2004, the company released a series of four limited edition cans, with different labels than the regular red and white. The new ones were in silkscreen colors, the top half being one shade and bottom another. Orange and pink were one combination, and shades of blue another. This marked one of the few times thus far in the company's 100+ year history that the labels have deviated from their standard look.

{http://en.wikipedia.org}

Success.