Course Information Instructor: Eileen Medinger, PhD Course: GRC250 Design Media Studio I Section:1002 Day/Time: Online Email: WebCampus course email Phone: 203-770-8463 Office Hours: Online by appointment Prerequisites: • ART101 • ART107 • ART156 Software: Adobe Illustrator and InDesign (CS6 or later) for graphic assignments. Files must be exported as .png or .jpeg for uploading to wikis. For some assignments, a link to native .ai file or packaged zip of native .indd file is required.
Learning Objectives Successful students will:
• Demonstrate proficiency in selected Adobe
Illustrator tools • Demonstrate general proficiency in using Adobe InDesign and package option • Identify and define formal design principles and visual vocabulary and apply them in the analysis and creation of visual compositions • Identify and define concepts related to digital graphics and technologies • Identify and use recommended strategies for effective and efficient visual communication and work flow
Review the Syllabus closely and carefully • Post a reflective question or comment to the designated discussion forum • Introduce yourself in the designated discussion forum
See course schedule for due dates
The content and activities of GRC250 Design Media Studio1 are divided into four learning modules. Each module has a conceptual theme that encompasses its purpose and focus. Together these modules provide experience in the foundational concepts and skills that will support success as you progress through the Graphic Design program. Each module has specific objectives for learning and practice. These goals help you to understand the purpose of assignments, activities, and supporting resources, and guide your approach to problems, to developing strategies, and formulating questions. Each module contains: • An introduction and explanation of its theme • Learning objectives for knowledge and practice • Resources: articles, tutorials, exercises, etc. provide basic knowledge and skills required to accomplish assignments • One or more projects or discussions, designed to explore concepts and practice relevant skills • Each assignment has a designated wiki or discussion (named for the assignment) to submit, review, and critique work. It is essential that you review all submissions and provide reflective and substantial feedback to a minimum of 3 to 4 of your classmates for all assignments. These responses are considered as your participation and are graded. Timely submissions and feedback are required. Follow due dates for posting and review in the course schedule to allow sufficient time for review and revision. Deadlines are imposed to ensure maximum participation in the activities of the course. My expectation is that you provide feedback to at least 3 or 4 classmates in each assignment and respond to feedback and revise work when necessary. I believe that learning is collaborative and that your participation is an essential to success. It is an essential consideration in evaluating your performance in this course. My hope is that you will see your frequent and thoughtful interactions in course activities as opportunities for exploring ideas more deeply and for sharing knowledge and experience with colleagues whose interests and perspectives will enhance and expand your own. Instructions and rubrics (where relevant) are provided and should be carefully reviewed. If you are unclear about the requirements of an assignment please post your questions to the forum provided or email me before you begin working. Your questions and their clarification will help everyone.
Module 1: Visual Strategies
Introduction
Successful students demonstrate ability to: • Identify and define the characteristics of vector graphics (Adobe Illustrator) in contrast to raster graphics (Photoshop) • Identify and use keyboard shortcuts for efficient work flow • Use the pen tool in Adobe Illustrator (AI) to create bezier curves skillfully, efficiently, and quickly • Use the pathfinder panel and shape builder tool with other tools in AI to create complex shapes, efficiently, quickly, and analytically
In design, strategy supports creativity by providing the foundational context, viable tools, tested methods, visual theories, models for effective solutions, that can provide opportunities for experimentation, exploration, and innovation.
Learning Objectives
Examples for M1A1:
Visual strategies encompass ideas about organizing, planning, and selecting methods and tools, based on tested methods and tools that are supported by theory and research. Along with the analysis of the content and clear definition of message, they are the basis for the design process.
In this module, we focus on some basic concepts related to digital images and some of the tools in Adobe Illustrator that are used to create them: the pen tool (bezier) the pathfinder panel of tools, and the shape builder tool. Just as an understanding of analog/mechanical technologies, like film photography and the characteristics of its images and tools, (e.g. printable, dependent on light, chemical reaction) define the strategies for how we use them in visual communication, an understanding of the fundamental characteristics and structures of digital technologies and tools enable us to use them more effectively in creating digital images that are meaningful. Computer applications use two basic data structures for creating, manipulating, and storing digital visual information: vector and raster (bitmap) graphics. Adobe Illustrator is an example of a software program used to create, edit, and manage vector images; Photoshop is its counterpart for raster images. The characteristics of digital image types are not only determined by the tools we use, but also provide the criteria for their appropriate application. Assignment 1: Vector vs. Raster Instruction In this assignment you will use the insights you gained in learning about the concepts of vector and raster graphics, to create a visual instructional aid to help learners understand these concepts. This requirements of this assignment are:
• A visual presentation (e.g. infographic, illustration, animation) that illustrates/explains/demonstrates the ideas that define vector and raster visual data types.
• Use your best insights into the critical aspects of these
concepts and the strategies (metaphors, comparisons, etc.) that helped you to understand these ideas.
Vector vs Bitmap Bitmap/Vector Graphics: What’s the Difference? Raster vs. Vector: What Does It All Mean? Raster Images vs.Vector Graphics (website) What is the Difference Between a Raster and Vector Image? Vector vs. Raster Vector vs. Raster Graphics The Difference Between Vector and Raster Vector vs. Raster Instructional Aid See course schedule for due dates
• Address multiple characteristics of both concepts: visual
structure, specialized software, reproduction, purpose, etc.
Submit presentations to the wiki, Vector vs. Raster. Review all submissions and provide reflective and substantial comments and feedback (addressing both the design and the effectiveness of instruction) to a minimum of 3/4 of your classmates.
Module 1: Visual Strategies
Adobe Illustrator’s interface replicates some of the physical aspects of tools and methods we use to draw, but the structures and processes for creating lines and curves digitally are fundamentally different. It is a process that depends on data input (e.g. positions of a curser) which are tracked, captured, stored, and interpreted, using algorithms/mathematical formulas to reproduce them as visual paths and shapes. Because this process requires specific data input, the pen or bezier tool is often a challenge to master. But, with practice, you will develop an appreciation for its potential and power to create almost anything you imagine.
Beginners Basic Pen Tool Straight & Curved Lines Adobe Illustrator - Pen Tool Basics Illustrator Pen Tool Tutorial - Part 1 Illustrator Pen Tool Tutorial - Part 2
Assignment 2: Pen Tool Tutorials Review Review and complete the pen tool tutorials provided and share your experiences in using them. • Download the exercises file: Pen Tool Exercises and use it to complete the Beginners Basic Pen Tool tutorial • Describe your experience in learning how to use the pen tool. (List and define the demonstrations, illustrations, explanations, practices. etc. that were most effective or provided the best instructions for learning and explain why.)
Pen Tool Exercises This .ai file is also linked in the course (M1A2) Pen Tool Tutorials See course schedule for due dates
Examples for M1A3:
Submit your exercises and description of experience to the wiki, Pen Tool Tutorials Review all submissions and provide reflective and substantial feedback to a minimum of 3/4 of your classmates. Respond to feedback. The next assignment provides an opportunity to practice using the pen tool. The assignment is based on a traditional exercise in which a drawing is created with one continuous line. In the physical process, the drawing implement (e.g., pen or pencil) is never lifted from the drawing surface. The purpose of the exercise is to shift one’s concentration from a focus on mechanics/technique of using the tool to the visual analysis of the image and to thinking about ways to define both the contour and interior/surface qualities (textures, details, patterns, etc.) of the visual object. This encourages exploration and practice based of what you require from the tool, rather than what the tool demands from you. The examples on the left show possibilities for subjects, styles, line quality, gesture, as well as strategies for moving into the interior of the drawing while at the same time creating contour. You may want to trace an image, draw something you see, or something from your imagination. The image will be your focus while you practice and become fluid in using the pen tool. Remember that smooth curves are created with a minimum of points, so make each point count. Think about ways to move in and out of the drawing and how contour and texture can be created simultaneously as you move around. Pay particular attention to the quality of the composition. Create a few of these continuous line drawings, varying your methods and strategies. The goal is attain fluidity, speed, efficiency, and comfort in drawing with the pen tool. Be sure to identify and use relevant keyboard shortcuts.
Module 1: Visual Strategies
Assignment 3: Continuous Line Drawings For this assignment, create a number of continuous line drawings to practice and develop technique in using the pen tool. The requirements of the assignment are: • A continuous line drawing (selected from multiple practice drawings) • Awareness of the whole composition • Development of techniques for moving in and around the subject simultaneously • A list of the keyboard shortcuts • A brief description of your experience Submit your drawing, description, and list of shortcuts to the designated wiki, Continuous Line Drawing Review all submissions and provide reflective and substantial comments/feedback to a minimum of 3 or 4 of your classmates. Respond to feedback and submit appropriate revisions.
Continuous Line Drawing See course schedule for due dates
Pathfinder Tool in Illustrator Pathfinder Techniques part 1 (Shape Builder Tool) Pathfinder Techniques part 2 The Shape Builder and Pathfinder Pathfinder Tool in IllustratorCS6/CC Pathfinder Tutorial in Adobe Illustrator CC How to Use The Pathfinder Function Pathfinder logo tutorials: Audi logo Colorful logo Textured logo Simple Vector Logo (source file) Pathfinder/Shape Builder Review See course schedule for due dates
As we have seen, it is possible to use the pen tool (and the variety of drawing tools) in Adobe Illustrator to create and edit paths and shapes. But to create more complex objects, it is many times easier and faster to combine simple shapes or to edit existing shapes, using other shapes, rather than to try to adjust anchor points of individual paths. The Pathfinder panel and Shape Builder tool provide a variety of possibilities for combining and manipulating shapes to create more complex ones, simply and efficiently. The key to using these with maximum proficiency is in developing the ability to analyze complex objects and leveraging the capabilities of these tools to automate repetition, position elements with precision, and generally enhance mechanical tasks. Assignment 4: Pathfinder/Shape Builder Logo Review the pathfinder and shape builder tutorials provided and create or recreate at least one logo design to gain some insights into how these tools are efficient and effective in creating them. The requirements of this assignment are: • A brief description of your experience and discoveries in using the pathfinder and shape builder tools • A critique of the resources and tutorials reviewed • A logo design created or recreated with these tools • A list of the keyboard shortcuts that you used
Submit your description/critique and logo design to the designated wiki, Pathfinder & Shape Builder Review Review all submissions and provide reflective, substantial comments and feedback to a minimum of 3 or 4 of your classmates. Respond to feedback. Creating specific complex shapes in Illustrator requires knowledge and skills in using tools and the ability to analyze the components of these complex objects to determine the best strategies and tools for making them efficiently. In the first part of this next assignment you will spend some time analyzing complex shapes to determine the most efficient and fastest methods for creating them, using (primarily) the pathfinder panel and shape builder tool.
Module 1: Visual Strategies
Click on object to access source (large) image
Complex Objects: Part 1: Analysis and Process See course schedule for due dates Part 2: Original Design See course schedule for due dates
Module 2: Visual Structures Learning Objectives Successful students will demonstrate the ability to use ideas about perception and formal design principles to: • Identify and create visual order/hierarchy in compositions • Identify and effectively control visual structures to create intentional meaning • Demonstrate understanding of visual design concepts, structures, and vocabulary in discussions and designs • Articulate and critique aesthetic and technical concepts and processes • Contribute to peer discussions with clear and insightful comments and constructive, respectful feedback • Respond to critical feedback reflectively (demonstrated in revised visual solutions and/or written responses in assignments)
Assignment 5: Complex Objects Part 1: Analysis and Process For this assignment you will work with an assigned partner/team to analyze one of the complex objects on the left. Object and partner/ team assignments will be posted in an announcement and source files sent by course message. The requirements of Part 1 of this assignment are: • A written analysis of the component parts, structures, details, etc. of your assigned complex shape. • Evidence and documentation of your collaboration (your work together in the wiki provides this) • A detailed step-by-step process, describing the tools and strategies used to create your object. • A vector file (.ai) of your completed object • A link to your native .ai file Submit your analysis, process, and completed object to wiki, Complex Objects: Analysis and Process Review all submissions and provide reflective, substantial comments and feedback to a minimum of 3/4 classmates. Respond to feedback and revise if necessary.
Assignment 5: Complex Objects Part 2: Original Design For this assignment you will work with your partner/team to create an original complex object. The requirements of Part 2 of this assignment are: • Create a complex object using the pathfinder panel and shape builder tool. (You can use other tools, but the object design should demonstrate your competency and speed in using the pathfinder panel and shape builder tool). • A list of keyboard shortcuts • A written description of possible applications for designed object Submit your complex object to the designated wiki, Complex Objects: Original Design. Review all submissions and provide reflective and substantial comments and feedback to a minimum of 3/4 classmates. Respond to feedback. Visual structures are the conceptions that support and are supported by our visual experience and our understanding of visual perception. These structures are based on theories from multiple disciplines and research based on diverse perspectives that encompass physical, psychological, cultural, and emotional insights, physical, psychological, cultural, emotional, etc. experiences. These visual structures are represented in the formal principles and the defining elements of design. They present models for organizing visual compositions and creating visual relationships, and are based on what we know from and about human experience. They are the devices that designers use to order compositions and images and to create effective and meaningful visual communication. An element is the simplest and most basic component in visual design. In practice, elements are related and/or combined with other elements to create the visual structures/strategies of a design composition. Although visual principles are difficult to categorize, there are at least two different and useful ways of thinking about them. In one way,
Module 2: Visual Structures
a principle describes a visual structure used to support a visual strategy, and is based on how we see; alternatively, a principle can describe a characteristic or a quality of composition that is based on human cognitive accessibility, psychology, or how we interpret what we see. Think critically as you review the resources on the elements and principles of design provided in this next section to expand and deepen your understanding of visual structures and how they are used in design practice. The definitions, descriptions, and examples you find will be useful for the first assignment of this module: InDesign Brochure: Elements and Principles of Design . Although the lists of what are considered to be the elements and principles of design varies, the resources below encompass the essential concepts.
Number 1 poster Paula Scher, 2005
Elements of Design The elements of visual design are the components or parts used to create a composition. The Building Blocks of Visual Design Design Elements (color, texture, shape, typography) Line Line Points, Dots, And Lines What is line? Element of Line Elements of Art: Line Elements of Design – Line Color Color Models Color Vocabulary Understanding Color Color Rules of Thumb 10 Reasons to Use Color Color - Style - Material Design Guidelines Color in Design and the Applied Arts Elements of Design – Color The Element of Color Shape and Form Elements of Design – Shape and Form Elements Of Design: Shape Forms:Surfaces And Planes, Volumes And Mass Shape Line, Shape, and Form Elements of Art: Shape Shape Space How To Use Space In Design Elements of Design: Space Elements of Design – Space Design Principles: Space And The Figure-Ground Relationship Space Element in Design Elements of Art: Space ‘Space’ Visual Element of Graphic Design Space What is white space? A Solid Understanding of Negative Space
Module 2: Visual Structures
Texture Texture The Role Of Textures in Contemporary Graphic Design Design Notes: Texture Elements and Principles of Design-Texture Using Texture to Get the Most Out of Design Texture, A Crucial Graphic Design Element Structures As Patterns and Textures: The Elements Of Design Top 7 Benefits of Adding Patterns and Texture Value Elements of Visual Design-Value Elements and Principles of Design-Value How to Apply Element 5: Value Typography ‘Typography’ Visual Element of Graphic Design Typography: Key Rules Outline Text Rules for Creating Effective Typography Typography Basics Rules You Should Never Break Principles of Design After reviewing the resources on the Elements of Design, above, you have a better uderstanding of how the elements and principles of design are integrally defined. So in mastering the concepts of the elements of design you have good foundation for comprehending the principles of design. These principles derive from a variety of disciplines, supported by diverse theoretical conceptions. Most of these principles are related to ideas and strategies for organizing, ordering, and focusing on visual elements based on human psychology, and perceptions. They are guidelines, rather than requirements or rules for every design. They provide the tools, tested models, and strategies for arranging visual elements to achieve predictable visual effects and impact. The list below is alphabetical, rather than ordered in terms of importance and assumes ideas from aesthetics, Gestalt theory, constructivism, and visual communication theory, among others. Each term can be categorized, some as descriptors of how visual information is organized (e.g., similarity, continuation, figure/ground) some as strategies for creating visual order, focus, or engagement (e.g. emphasis, contrast, asymmetry), and others as basic aesthetic requirements (e.g., balance, unity, harmony). Alignment Continuity Harmony Rhythm Asymmetry Contrast Movement Similarity Balance Direction Pattern Space Closure Emphasis Proportion Symmetry Consistency Figure/ground Proximity Unity Focal point Repetition Contiguity
Saul Bass/Herb Yager Christmas Card Saul Bass, 1980
In preparation for the assignment in this module, please complete this tutorial provided by Pluralsight (limited free trial): Principles of Graphic Design Composition It will help you to assimilate and to see these key visual elements and principles of design in practice while demonstrating the use of the tools in InDesign. In addition, especially if your are new to InDesign, the tutorial linked below provides a great introduction to get you started.
Module 2: Visual Structures
How To Get Started With Adobe InDesign CC - 10 Things Beginners Want To Know How To Do In the assignment for Module 2, you will design a brochure in Adobe InDesign. This is a challenging assignment. It demands proficiency in using InDesign software, a working knowledge of the visual design concepts you reviewed in this module, and that you use the experience and feedback from earlier assignments to design an instructional brochure that is well designed, clearly written and illustrated. So... before you begin this assignment, review the resources about the elements and principles of design, thoroughly. Take time to ensure that you clearly understand the concepts to be included as content. Be sure content is well written, (grammar and spelling) and supported with relevant, instructional, illustartions. Review the tutorial on InDesign, the examples brochures, and the Pluralsight tutorial. If you have any problems or questions, post them to the Issues and Questions discussion forum. Graphic design projects are usually described in a written brief provided by a client. The design brief includes information about the project and the requirements and expectations of the client.
AIGA Competitions & Exhibitions poster Steff Geissbuhler, 1999
InDesign Brochure See course schedule for due dates
In this case the brief specifies a tri/bi-fold brochure (6 to 8 panels), full color, appropriate layout, requires well researched/designed visual assets to support learning, relevant visual examples, and support instructional text. The purpose of the brochure is to introduce and explain the elements and principles of graphic design to its users. Your experience in learning these concepts and in working with them will inform how you write about, organize, illustrate and communicate the information effectively. Assignment 1: InDesign Brochure: Elements and Principles of Design The requirements for this assignment are: • The design and production of a 6 or 8 panel brochure that defines and explains the elements and principles of visual design • Written content that is clear and effectively instructional • Graphic assets that support understanding of the content • Finished comp (printed, folded, and trimmed) • Photographs of the final design- (show the overall design, e.g. relationship of panels, folds, organization and sequencing of content/portfolio-ready). • Packaged zip file of final InDesign brochure including all essential assets (fonts, images, etc.) Submit photographs of your brochure as image file (png or jpg) and a link to your native .indd file to the designated wiki, InDesign Brochures. Review all submissions and provide reflective and substantial comments and feedback to a minimum of 3/4 classmates. Respond to feedback and revise if appropriate. Submit final brochure. Post a link to your packaged zip file of your final design Principles of Graphic Design Composition How To Get Started - Adobe InDesign CC Brochure examples Using the Packaging function in InDesign
Module 3: Visual Research
Learning Objectives Successful students will demonstrate skills and ability to: • Determine relevant topics and effective • methods for research • Find and evaluate relevant, evidence-based information • Evaluate and synthesize concepts, theories, processes, and tools • Effectively present ideas, visually and in written text, using logical frameworks, in a variety of forms, with proper language structure and spelling • Contribute to peer critiques with clear and constructive comments • Respond and revise work, based on critical reflection of suggestions and feedback
Introduction Visual research in graphic design encompasses a wide range of practical and theoretical ideas and applications. Visual research can function as an analytical strategy to see how things work and as a practical instrument for solving design problems. Critical thinking supports research in graphic design, as in any discipline, in active and skill conceptualizing models, formulating questions and defining problems, clearly and precisely. Visual Research One purpose for visual research is to find models of effective design solutions. The information from this kind of inquiry is used to solve design problems that have similar specifications and requirements and as a basis for new design strategies and solutions. Often in this process, visual solutions are deconstructed and analyzed to determine essential components, principles, strategies, etc., (how and why they are effective). Alternatively, visual research, based on communication/marketing theory, is focused on gathering information about clients, audience, products, and context, to inform design decisions. Design research can also be active, experimental, and based on practice, carried out in the production of design. In this approach, visual researchers explore and experiment with diverse materials, tools, and unfamiliar or new strategies processes, principles, and visual languages. The process is interactive and reflective. As the design is developed, it presents new ideas and alternatives that can be explored or creates situations that demand entirely new frameworks for understanding and communication. For each design problem, the most efficient and effective type of visual research is linked to its requirements and specifications. Competence in determining the best approach to research is fostered through practice and experience.
The Basics of Typography Typography Tutorial Basics of Type Designing with Type
Assignment 1: Part 1: Typographer The first part of this assignment requires some traditional research into the history of graphic design and its practioners. The challenge is to go beyond gathering information about the life, career, and work of the typographer (chosen from the list below), to include the exploration and analysis of the designer’s work. The objective is to define the characteristics of style and to device strategies for replicating its seminal attributes in the design of an infographic that communicates essential biographical and historical facts. Before beginning this assignment, review the resources on infographics (left).
Typography See course schedule for due dates
Typographers are designers who work with type, based on the rules and techniques defined by typography. Typography provides the structures that inform selection of typefaces and specific fonts their use in a design. Below is a list of seminal typographers in the history of Graphic Design. Choose a typographer from the list below. Research and analyze both typographic style, and important events, influences, and work. Paul Rand Milton Glaser Stefan Sagmeister Neville Brody Paula Scher
David Carson Herb Lubalin Michael Beirut Jan Tschichold Massimo Vignelli
Carol Twombly Max Miedinger Herbert Matter Saul Bass Josef Muller-Brockmann
Module 3: Visual Research
Infographics The simplest example of an infographic is a bar graph. It represents and compares quantities/data using size and positioning of shapes, communicates categories and contrasts with color. Its form enables us to comprehend its data, visually and quickly. Its elements represent the translation of textual/mathematical/statistical information into a visual form. It leverages qualities like size, color, contrast, position, repetition, and the meaning of symbols and metaphors to communicate complex information quickly and directly. with minimum requirement for reading explanations or narrative text. Before beginning this assignment, review the resources on infographics (left). It is essential to understand the rules and strategies of typography in order to determine what defines the style of the typographer’s you choose and the elements and strategies that are used in infographics.
Bar graph uses color, position, and minimal text to convey data
What is an infographic? Infographic Hongkiat More examples Assignment 1: Part 2: Infographics Research for Part 2 requires investigation to determine the visual structures and strategies that are used in infographics. Review the resources provided to learn what makes an infographic and how it drives communication. Focus on how images replace text, and crucial ideas and relationships are constructed graphically. Document your analysis and define infographics. Include visual examples and illustrations in your explanation. The requirements of this assignment are: • Review the resources on infographics provided • Post examples of well designed infographics (2 or 3) • A written analysis of components, elements, strategies, and the the reasons why and how it is effective (efficient in communicating complex information)
Full Circle Fund Infographic
Infographics See course schedule for due dates
Submit examples of infographics and analyses to the designated wiki, Infographics. Review all submissions and provide reflective and substantial comments and feedback to a minimum of 3/4 classmates. Respond to feedback. Put it all together. Assignment 1: Part 3: Typographer Infographic The requirements of this assignment are: • Design an infographic that communicates important information about the typographer’s life and work. • Design in the style of your chosen typographer, (based on your analysis in Part. Replicate the seminal characteristics of his/her style within the formal requirements of the infographic • Connect and communicate information visually (e.g., relationships, sequences, influences, locations, time, etc.) using the strategies and structures determined in your work in Part 2.
Typography Infographic See course schedule for due dates
Submit examples of infographics and analyses to the designated wiki, Typographer Infographics. Review all submissions and provide reflective and substantial comments and feedback to a minimum of 3/4 classmates. Respond to feedback.
Module 3: Visual Research
Visual research includes experimentation. In traditional research, the purpose of an experiment is to test a hypothesis, find an answer, or to explore an idea, tool, process, etc. Visual research projects test ideas and find answers too, but often the purpose is concerned with exploring visual ideas, new/unfamiliar materials, tools, software, etc. There is a sense of playfulness, a search for alternative methods and perspectives, to encourage innovation, to inspire creativity, and to introduce new approaches to visual design.
Ben Brown: Code-generated polygons
Review the resources below to see some examples of visual experiments: Experimental graphic design projects Experiment with jpeg Tools for experimenting Experiments in book design David Carson Chicago zine Whitney logo redesign Assignment 2: Design Experiment For this assignment you will design and execute a visual experiment. The choice of topic/subject is up to you. Find something that you are interested in knowing about or exploring more deeply. Assignment requirements: • A description of your experiment • Its purpose • A plan for accomplishing your experiment • Process, tools, interaction, analysis, evaluation, etc. • Resulting image/presentation • Conclusion/outcome
Photographic experiment in image making
Design Experiment See course schedule for due dates
Submit your plan for a visual experiment to the designated wiki, Design Experiment. Review all submissions and provide reflective and substantial comments and feedback to a minimum of 3/4 classmates. Revise plan based on feedback if necessary. Submit final results and conclusion. Review all final presentations and provide reflective and substantial comments and feedback to 3/4 classmates.
Introduction Context can be defined as the circumstances or environment of something; the interrelated conditions in which something exists or occurs; the setting for an idea; the framework that structures the meaning of something. It consists of the things that come before and those that come after something and influence its meaning. In this module, we will be focusing on the context of graphic design, specifically, the ethical standards that define it. Your work in the previous modules has given you some significant experiences within the context of graphic design. Your study and practice in the foundational elements and principles of graphic design, your research into its history and practitioners, and in designing and conducting your own visual experiments. Before posting to this assignment’s discussion, take time to think critically about the professional context of graphic design, its influences, and its impact.
Module 4: Context
Learning Objectives Successful students will demonstrate skills and ability to: • Propose and discuss professional ethical standards of graphic design
Ethical Standards Discussion See course schedule for due dates Evaluation and Grading
After reflection, post the ethical standards that you think are most important/required to ensure the successful development of the professional of Graphic Design. Assignment 1: Discussion: Ethical Standards Post your proposed ethical standards to the discussion: Ethical Standards Discussion Review all discussion posts. Respond to at least 3 or 4 of your classmates’ posts. Evaluation of assignments is based on your timely, reflective, and relevant contributions both in meeting the specific requirements of the assignments and in your participation and considered responses to your classmates in the wikis. Rubrics for evaluations are included in assignments. Assignments submissions are evaluated based on the requirements described in each assignment. If you are unclear about instructions/ requirements for any assignment, post your questions to the discussion forum: Questions/Issues or send me a message directly through the course message tool. Participation is defined by your interactions and feedback in the wiki for each assignment and is valued at 50% of your grade. Grading A: is reserved for consistently extraordinary work and participation that exceeds assignment requirements; demonstrated ability to learn/revise work, appropriately, based on feedback; consistent contribution of meaningful/useful feedback. A-/B+: work and participation consistently meet requirements; demonstrated ability to learn/revise work, appropriately, basd on feedback; consistent contribution of meaningful/useful feedback. B: work and participation meet requirements; demonstrated ability to learn/revise work, in response to feedback; consistent contribution of meaningful/useful feedback. B-/C+: work and participation meet requirements; demonstrated ability to learn/revise work, in response to feedback; contribution of meaningful/useful feedback most of the time. C: work and participation meet most requirements, but are late, incomplete, unresponsive; provide/respond/use feedback appropriately most of the time. D: work and participation do not meet requirements, feedback is not provided/responded to/used.
Academic Integrity
Academic integrity is a legitimate concern for every member of the campus community; all share in upholding the fundamental values of honesty, trust, respect, fairness, responsibility and professionalism. By choosing to join the UNLV community, students accept the expectations of the Academic Misconduct Policy and are encouraged when faced with choices to always take the ethical path. Students enrolling in UNLV assume the obligation to conduct themselves in a manner compatible with UNLV’s function as an educational institution.
Plagiarism
An example of academic misconduct is plagiarism. Plagiarism is using the words or ideas of another, from the Internet or any source, without proper citation of the sources. See the Student Academic Misconduct Policy.
Copyright
The University requires all members of the University Community to familiarize themselves and to follow copyright and fair use requirements. You are individually and solely responsible for violations of
copyright and fair use laws. The university will neither protect nor defend you nor assume any responsibility for employee or student violations of fair use laws. Violations of copyright laws could subject you to federal and state civil penalties and criminal liability, as well as disciplinary action under University policies. Disability Resource Center (DRC)
The UNLV Disability Resource Center located in SSC, A143, 702-895-0866, provides resources for students with disabilities. If you feel that you have a disability, please make an appointment with a Disabilities Specialist at the DRC to discuss the options that may be available to you. If you are registered with the UNLV Disability Resource Center, make your Academic Accommodation Plan from the DRC available to your instructor so that you may work together to develop strategies for implementing the accommodations to meet both your needs and the requirements of the course. Any information you provide is private and will be treated as such.
Religious Holidays Policy
Any student missing class quizzes, examinations, or any class or lab work because of observance of religious holidays will be given an opportunity during the semester to make up missed work. The makeup will apply to the religious holiday absence only. It is the responsibility of the student to notify the instructor no later than the end of the first two weeks of classes, January 31, of his or her intention to participate in religious holidays which do not fall on state holidays or periods of class recess. In the event that administering the test or examination at an alternate time imposes an avoidable, undue hardship on the instructor or the university, the policy will not apply. Additional information on Academic Policies.
Incomplete Grades
The grade of I – Incomplete – can be granted when a student has satisfactorily completed all course work up to the withdrawal date of that semester/session but for reason(s) beyond the student’s control, and acceptable to the instructor, cannot complete the last part of the course, and the instructor believes that the student can finish the course without repeating it. A student who receives an I is responsible for making up whatever work was lacking at the end of the semester. If course requirements are not completed within the time indicated, a grade of F will be recorded and the GPA will be adjusted accordingly. Students who are fulfilling an Incomplete do not register for the course but make individual arrangements with the instructor who assigned the I grade.
Tutoring
The Academic Success Center (ASC) provides tutoring and academic assistance for all UNLV students taking UNLV courses. Students are encouraged to stop by the ASC to learn more about subjects offered, tutoring times and other academic resources. The ASC is located across from the Student Services Complex (SSC). Students may learn more about tutoring services by calling (702) 895-3177.
UNLV Writing Center
One-on-one and small group assistance with writing are available free of charge to UNLV students at the Writing Center, located in CDC3, C301. Although walk-in consultations are sometimes available, students with appointments will receive priority assistance. Appointments may be made in person or by calling 895-3908. The student’s Rebel ID Card, a copy of the assignment (if possible), and two copies of any writing to be reviewed are requested for the consultation.
Rebelmail
By policy, faculty and staff should e-mail students through their Rebelmail accounts, only. Rebelmail is UNLV’s official e-mail system for students. It is one of the primary ways students receive official university communication such as information about deadlines, major campus events, and announcements. All UNLV students receive a Rebelmail account after they have been admitted to the university. Students’ e-mail prefixes are listed on class rosters. The suffix is always @unlv.nevada.edu. There will be no final exam.