In this class we will approach graphic design as a living system of typographical, visual, structural, and circulatory elements. These elements work together to convey meaning. We will examine not only how to give form to content, but also how form affects that content. Through readings, discussions, projects, critiques, and in class workshops, we will explore these elements, and how they interact with each other to create something more than the sum of their parts. We will discuss the fundamentals of graphic design— its history and tools, but also look to disciplines that shape contemporary graphic design practice and discourse: art, psychology, computer science, political science, music, architecture, and more.
Each week of the class will begin with discussion of the week’s reading, followed by a shorter lecture and demonstrations. Then we will spend the remainder of our time together on in class exercises.
The second meeting will consist of critiques of works in progress and completed projects. These will be done in small groups, individually, and together as a class. We will also engage in longer in class workshops that explore what we discussed in the previous classes. These workshops may require you to bring in material or do some preparation ahead of time.
Readings are assigned for each week. We may discuss these in either period, time allowing. Please be prepared for discussion at the beginning of each week.
You will be responsible for keeping an online archive of your works in progress, inspiration, and relevant links/resources. As a class, we will use the online tool Are.na to share this information. We will create accounts the first day of class, and then you will be able to add material via a web browser to our class channel as well as your own private channels.
Documenting your ideas and process, as well as reference materials, are fundamental to the practice of a designer. You never know when an jettisoned idea or sketch will become relevant in the future.
This material will be used for future assignments and workshops.
In the class we will use Adobe Creative Cloud software: InDesign, Illustrator, and Photoshop. These are installed on the Mulberry computers and should be accessible on any Denison lab computer.
A USB drive. While files can be stored in the cloud, it’s always important to have a backup and be able to take your work with you.
You should always have a pen or pencil available during classes.
You will need a camera to take photographs outside of class as part of some assignments. The camera on a phone is fine. If you do not have one, come see me and we will figure something out.
Most projects and workshops will require you to print your work. This can be done in the labs across campus, but you will need to pay for these. It is also possible to print via the copy center, but that requries advance planning. See me for details.
Your capacity in this class is predicated upon your attendance. Studio courses have a lot of hands on learning, discussion and feedback built into classes and it is challenging to make up a 3 hour class. Students must have received notes and spoken to a student before coming to a professor for clarification on what was missed. The attendance policy also takes into account that you are part of a community in this class. Your engaged participation in critique and in class discussion is an imperative part of the community of the class. If you have two unexcused absences during the semester that you can use as you wish and need. After this, further unexcused absences will adversely affect your final grade. Your third unexcused absence will lower your final grade by 1/3 letter grade. Every unexcused absence after that reduces your grade by another 1/3 letter. Tardy arrivals or early departures, unless excused, count as 1/2 an absence. If you have an unexcused absence from a critique day your grade will be lowered by one letter grade. There is a constantly evolving landscape in relation to COVID, and adjustments will be made as needed and in response to this.
This course is not static. We may need to alter the direction or shape during the semester, as such this document is subject to change.
The readings presented in this class are by no means exhaustive or complete. Instead, they are trying to cover a variety of topics and views in a short amount of time. The viewpoints of authors are not necessarily my own views. This reading list is a continual work in progress, and it is an active proejct to continually diversifying and add to the course materials. I welcome your suggestions.