SCM 240 Workbook
Alexandra Martin 1
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History of Design
Line
Shape
Figure Ground
Typography
Color
Golden Rectangle
Creative Process
Client Project & Brief
Conclusion
CON TENTS
HISTORY of DESIGN Japanese Prints 1860-1900 Advocated the principles of self-drawn, self-carved and self-printed art, stressing the artist, motivated by a desire for self-expression, as the sole creator.
Industrial Revolution 1840-1900 Came about as a result of a major societal shift due to the emergance of industrial machines. Craftsmen were valued and passed along their trade to apprentices.
Arts & Crafts 1885-1900 Based on traditional craftsmanship using simple forms It advocated economic & social reform & has been said to be anti-industrial. 4
Art Nouveau 1900-1914 Aimed at modernizing design, seeking to escape the eclectic historical styles that had previously been popular. Artists drew inspiration from both organic & geometric forms, evolving elegant designs that united flowing, natural forms with more angular contours.
A trad M & is b g lav
Art Deco 1910-1939
style that combines ditional craft motifs with Machine Age imagery materials. The style often characterized Bauhaus by rich colours, bold geometric shapes & 1919-1933 vish ornamentation. Bauhaus was a state sponsored initiative to integrate the artist & the craftsman while bridging the gap between art & industry
Minimalism 1967-1978 A school of abstract painting & sculpture that emphasizes extreme simplification of form, by using basic shapes & monochromatic palettes of primary colors, objectivity, & anonymity of style.
Digital Age 1990-Now An artistic work or practice that uses digital technology as an essential part of the creative or presentation process.
Post-Modernism Modernism 1918-1939 Modernism is based off experiments with form & the use of techniques that drew attention to the processes & materials used in creating. 5
1960-1990 A late-20th-century movement in the arts, architecture, and criticism that was a departure from modernism.It is often associated with deconstruction and post-structuralism
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line project:
Lines of New York 1
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A C I only lived in New York City for a year and a half. But as far as I was concerned, my life didn’t begin until I met New York. The beauty of New York is how you can be engulfed in such a rowdy, messy place and not be completely overwhelmed by it. You can be trapped between the sounds of honking taxis and the bodies’ of pushy strangers, but feel at peace. The wildness translated into white noise for me; a background blur to distract me from my own anxieties. People always are complaining about the subway, but it’s one of the things I miss the most. It’s crowded, smelly, unreliable, and filled with people who get too close to you. People you’ll never see again surround you. You make uncomfortable eye contact and maybe even temporarily fall in love
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with someone you share a train car with. It’s easy to daydream up a future for yourself when you’re trapped in an enclosure bursting with other dreamers. There was romance in the chaos of the subway system. It forced me to sit down, breathe, and clear my mind during my daily commute in the midst of one of the craziest cities in the world. At first the subway map is a confusing mess of lines sprouting out every which way. But soon I began to recognize those lines as the arteries of the city- pumping its blood into every direction and neighborhood. A system I once feared transformed into a waltz I could perform with ease and confidence. To a stranger, the subway system’s mapping is daunting, but to New Yorkers, it’s a language we’ve all learned to
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speak. The map of lines aren’t just lines, they are an intentional mapping created to ease the chaos of what goes on above ground. The design I created combined rotated and merged images of the subway lines to create an interpretation of the shape of the human heart. Within the outline of the heart are the lines of the subway, creating the arteries and veins. All together this symbolizes the essentiality of the subway system and the pulse it can create for the city. With the pulse came my love for the city and my desire to return to it.
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shape project:
Native Growing up, my Native American heritage was always important to my family. I’m ¼ Cherokee, my father is ½ and my grandfather is full Native American. I remember visiting my grandparents’ house as a child and being surrounded by all sorts of Native American décor and history. My grandfather always took great pride in his heritage and wanted to make sure his children and grandchildren shared the same pride and respect for their roots. My grandfather faced discrimination for being Cherokee and grew up very poor. He was only allowed to go to a college for minorities, therefore limiting his career choices. Even though I’ve been fortunate to never face discrimination myself, my grandfather’s race directly affected my family’s life. Growing up so poor, he wanted to make sure his children wouldn’t face the same kind of life he did. When I tell people I’m Native American, they often scoff and dismiss it. They’ll make some comment about how everyone seems to be at least some percentage Native American and that it’s no big deal. My illustration made with shapes depicts two messy braids. These braids represent the stereotypical image of what a Native American girl is pictured to look like. When people think of Native American women, they often think of dark skin, dark hair, and two long braids framing their face. Because I don’t fit that image, I can’t be Native American, can I? I made this illustration to show that my family’s experiences are important to me and that even though I may not look the part, or have experienced what they did, the culture they lived through its still an important part of how I was raised.
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figure ground exercise 1:
f jw
lc M
i
P
a
figure ground exercise 2:
AL ne r T z qpos
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u
JJ JJJ JJ JJ J JJJJJJJ JJJJ J YYYYYY xxx
iiiiiii
JJJJJJ J J
Y
figure ground exercise 3:
YYx iiiiiii
xxxx xxxxxx xx xxxx xxxxxx YYYYYxxxxx 12
Figure Ground In making these designs, I wanted created pieces representing a clear 50/50 ratio of black and white space. This shows a strategic use of figure ground principles and a knowledge of composition. The Gestalt Theory focues on the study of perception and behavior based on an individual’s response to configurations of wholes. This theory can be applied to how we percived the designs presented here. 13
Typography:
The art or procedure of arranging type or processing data and printing from it. Kerning: the careful calibration of space between pairs of letters to create a balanced and visually pleasing effect Serif: A font with short lines stemming from and at an angle to the upper and lower ends of the strokes of a letter. Sans-Serif: one of a group of typefaces that do not have short lines across the top and bottom of the long parts of the letters. Terminal: The free end of a stroke. Counter: A negative space within a character that may be fully or partially enclosed. Bowl: The bowl is the curved part of a letter that encloses an open space, as in the letters o, p, d, b and q. Ascender: The tall parts of letters such as lowercase d, l and f, which ascend above the typical height of a lowercase x. Descender: Similar to ascenders, except they drop below the baseline, or the bottom of a line of lowercase text. Lowercase j, p, g and q have descenders. Arm/leg: An upper or lower (horizontal or diagonal) stroke that is attached on one end and free on the other. 14
For my Typography Poster (and for this body copy) I decided to use the typeface Helvetica. This typeface has a long history of being clean, sleak and universally beloved. To add a touch of humor and fun to my poster design, I added a heading of a topography map, making a word play joke out of the two words sounding so similar. According to Wikipedia, yypography is the art and technique of arranging type to make written language readable and appealing. Typography is important to design because it helps to convey a feeling or mood to viewers and can help get the appropriate message across the best way possible. The right or wrong font choice and make or break a design. Different fonts and typefaces carry different feels. For example, you wouldn’t want to say “STOP” in a small, quiet font. You’d be more successful in using a bold, thick font. The importance of typography has grown more and more significant over the years and nowadays is seen as an essential building block of good design.
sans-serif:
Alexandra Lucille
serif:
Alexandra Lucille
script:
Alexandra Lucille
decorative:
Alexandra Lucille
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Color Wheel
Color is essential to design due to it’s emotional appeals. Different colors in different cultures can evoke a variety of emotions. For example, the color red can represent courage, love, or danger. Blue can represent loyalty, wisdom, and faith. Yellow can represent happiness, intellect, and energy. Researching colors and theit psychological implications can be benficial to a designer who is looking to evoke a certain emotion out of a piece of work. Chroma and value are also important elements. Chroma refers to intensity of distinctive hue. Value refers to the measurement of the brightness of a color. Color’s relationships to each other are also significant to design. The color wheel, as illustrated to the left, helps identify the relationships between colors. A commonly pleasing color combination is the complimentary color scheme. This consists of two colors directly across from each other on the color wheel. Knowing color schemes, their relationships to each other and the meanings behind colors are all essential to good design. 17
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Constant Hue Chart
Hue: One of the main properties of a color, defined technically, as “the degree to which a stimulus can be described as similar to or different from stimuli that are described as red, green, blue, and yellow,� 19
HOW TO MAKE:
Bold Color Scheme
1. Construct a square. 2.Draw a line from the midpoint of one side of the square to an opposite corner. 3. Use that line as the radius to draw an arc that defines the height of the rectangle. 4.Complete the golden rectangle. 5. Repeat as desired
Golden Rectangle 20
The Golden Rectangle is a rectangle who’s sides create the golden ratio, which roughly approximately 1.618. This ratio is said to be one of the most aesthetically pleasing ratios to the eye. Therefore, this ratio is essential to the designer’s toolbox. The Golden Ratio appears throughout nature; in animals, humans, plants, etc. Humans find objects and designs that incorportate or encompass the Golden Ration to be most attractive. Another way to determine the Golden Ratio is to know that the longer part divided by the smaller part is equal to the smaller part. Knowing the Golden Rectangle helps to understand proportions, being a comparative relation between things or magnitudes as to size, quantity, number, etc.
a
b a = a+b = 1.618... = b a
Golden Rectangle Proportion Graphic:
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Intake
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Create a Brief
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Research
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Sketch
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Present for Critique
Listen & take notes about what the client expects and desires.
Listen to the comments and suggestions of peers. Make sure to explain ideas behind the design.
Decide how you want to approach the assignment and how you can best suit the needs of the client.
Look online on sites like Pinterest, Tumblr, and DesignCloud for inspiration.
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Apply the comments and suggestions of peers.
Present to Client
Ensure the file is in the correct format (usually PDF). Make sure you clearly explain your design process to the client.
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Get initial ideas down on paper. Sketching designs helps the brain conect to the hand and allows you to be more creative.
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Revise
Refine
See where the ideas from the initial sketches take you. Look at these designs and further refiine then.
Digitize
Take ideas from sketches and transform them into a digital format.
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Revise (pt. 2):
Listen to the clients comments and concerns and apply them to the design.
Deliver
Present final design, complete with edits.
Creative Process 23
idea 1: idea 2:
Don’t Miss Family Weekend! September 25-27 2015
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Client Project: STEPHENS ADVERTISING brief
A design brief is a spoken or documented description of what a client wants our of a specific project assigned. A brief describes what is expected and desired, given in order for the designer to create a design that fits the client’s needs. It can include size specifications, desired color palettes, emotions wanted to be conveyed, etc. Without a brief, the designer has no way of knowing what they should create.
project
final:
For this project, my group was given a brief telling us we were to create a postcard for incoming students’ families to inform them about an upcoming Family Weekend here at Stephens College. In my group’s initial meeting, we decided we wanted to incorporate an image of a calendar since the postcard was meant to inform the recipients to save the date. We immediately started sketching ideas of how we wanted to lay out the card and what colors we wanted to incorporate. Once we split up and designed our individual versions of what we thought would work, we met up again and compared designs. We decided which elements of which designs we thought would be most powerful. After doing this we gathered around one computer and blended all our favorite elements into one design. The final product is simple, yet gets the message across in a stylish manner.
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From my experience with this course, I’ve learned the importance of versitile design work. As a designer, you must focus on making your work technically good first and then adding your own flair and personality to it. Without the technical skills and knowledge of design elements and eras, designs can fall flat. What may look good to one person, may not look good to another if it does not follow a basic rubric of the principles of design. From this course, I’ve learned that everyone has their own different taste and you must be able to adjust to cater towards your client’s wants and needs, but also not sacrifice your own aesthetic. This class has taught me to stretch out of my comfort zone and not be afraid to challenge myself with the work I create. I have learned more about the elements of line, shape, and typography and how to strategically use them. With the skillset that this class has enhanced, I feel like I am more set to continue my work in the graphic design world.
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Course Conclusion 27
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