D E S I G N B A S I C S
GAYLE ULRICH
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DA AP WORKS 2015
table of contents introduction 4 8 10 14 16 18
importance of visual literacy lack of visual education mission statement target users design goals initial products
branding 21 22 23 24 25
logo brand goals market position graphic inspiration material inspiration
color relationships 26 28 30 32 34 35 36
student learning outcomes concepts professional validation refinement physical refinement student validation final product
focal point 38 40 42 44 46 47 48
student learning outcomes concepts professional validation refinement physical refinement student validation final product
In an increasingly visual world, the need for visual design knowledge is imperative. 4
evolution of communication TRANSITION TO A VISUAL CULTURE “Man has functioned as a seer and embraced vastness for millennia. But only recently, through television, film, photography, and modern media has he been able to shift from the clumsiness of speech as a means of expression and therefore of communication, to the powers of infinite visual expressing, thus enabling him to share with everybody immense dynamic wholes in no time.� -Caleb Gattegno, 1969
PRINTING PRESS Reading and writing becomes available to the masses. Written word is the primary medium for expression.
CAMERA
SMART PHONE
Imagery as an accessible way of communication is introduced to the masses. Photographs, films, and eventually television become a part of every home.
With a camera in every pocket, capturing, creating, and sharing images becomes a primary means of communication.
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modern media VISUAL DOMINATED/VERBAL AUGMENTS
THERE’S NO TEXT DESCRIPTION. IT’S JUST AN IMAGE AND A FEELING.
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2015 MCDONALD’S AD. NO WORDS
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lack of visual education NATIONAL CORE ARTS STANDARDS The National Core Arts Standards, as established by the NCCAS, are generally concerned with method and medium exploration, generating ideas, and personal expression. It isn’t until high school art class, which is typically optional, that students are formally exposed to “the fundamentals of design.”
grade level
1st
standard Use observation and investigation in preparation for making a work of art.
2nd
Make art or design with various materials and tools to explore personal interests, questions, and curiosity.
3rd
Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the art-making.
4th
Collaboratively set goals and create artwork that is meaningful and has purpose to the maker.
5th
Identify and demonstrate diverse methods of artistic investigation to choose an approach for beginning a work of art
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The modern student is constantly expected to communicate visually, but is rarely instructed on the best way to do so.
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D E S I G N B A S I C S
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a line of art making toys that introduce students to the fundamentals of design to enhance visual communication skills
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fundamentals of visual design THE BUILDING BLOCKS OF VISUAL COMMUNICATION
LINE
POSITIVE/ NEGATIVE SPACE
FOCAL POINT
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HUE, VALUE, & SATURATION
BALANCE
PROPORTION
COLOR RELATIONSHIPS
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SYMMETRY
target users: students ages 7-11 THAT’S FIRST TO FIFTH GRADE
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Concrete Operational: Piaget’s Cognitive Stages of Development In 1952 Jean Piaget, a Swiss developmental and educational psychologist, developed a comprehensive developmental stage theory regarding the nature and development of human intelligence. The concrete operational stage is the third stage of Piaget’s theory of cognitive development. This stage occurs between the ages of seven and eleven, and is characterized by the appropriate use of logic. Important features of the Concrete Operational stage are:
NO LONGER EGOCENTRIC
CONCRETE OPERATIONAL
The child acquires the ability to view things from another individual’s perspective, even if they think that perspective is incorrect
The child develops more mature thought processes. Abstract thinking is not yet developed. The child can only solve problems that apply to concrete events or objects.
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DISCOVERY LEARNERS The child learns best when actively engaged with content. This was the beginning of the Constructivist Movement which is now seeing a second life in the modern Maker Movement.
design goals
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1. instructive but not limiting create experiences that allow students the opportunity to engage with new ideas, in a way that is open to the student’s interpretation
2. physical end product maintain design’s connection to physical art-making to instill the value of skill, craft, and a physical outcome
3. appropriate content tailor and organize content in a way that students, ages seven to eleven, will be able to grasp the idea
4. distinctive branding create a unique and compelling brand language that is reflective of the product and will stand out on the shelf
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fundamentals of visual design THE BUILDING BLOCKS OF VISUAL COMMUNICATION
LINE
POSITIVE/ NEGATIVE SPACE
FOCAL POINT
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HUE, VALUE, & SATURATION
BALANCE
PROPORTION
COLOR RELATIONSHIPS
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SYMMETRY
branding
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GRID LINES CALL TO MIND DESIGN’S RULES
PRIMARY SHAPES
AND GUIDELINES
SIX MAIN COLORS ON
SIMPLE BLACK TYPE
THE COLOR WHEEL
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brand goal
a line of modern art making toys that formally introduce students to the fundamentals of design in an effort to enhance visual communication skills
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market position toys
crafty
modern
art tools
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graphic inspiration
HEAVY GRID
SIMPLE BLACK TEXT
SATURATED COLORS
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material inspiration
COLORED RUBBER
TRANSPARENT
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color relationships
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Design Goals (student learning outcomes) 1. introduce color relationships as vocabulary color relationships: monochromatic, analogous, complementary, split-complementary, triad, warm, cool, and anything you create
2. practice applying relationships mix and apply colors to create traditional and nontraditional color relationships
3. discover the effects of using different color relationships compare and contrast the way color relationships can affect the overall feel and harmony of a design or composition
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initial concepts
WHAT IDEAS ARE VITAL TO COLOR THEORY?
SOME OF MY BEST WORK
HOW CAN I BRING THOSE IDEAS INTO A PRODUCT?
PAINT CHIPS FOR KIDS?
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concept 1
PAINT MIXING Students use color guide to learn about colors through guiding mixing activities. They mixes colors can be used to paint magnets that can be played on the packaging.
color guide mixing tray paintable magnets
paint & brushes
packaging
concept 2
COLOR MATCHING Students mix paint to match the color band at the top of the card. The back serves as a color profile.
i call this color
i call this color
colors to mix
colors to mix
colors components
colors components
hue
hue
saturation
saturation
brightness
brightness
colors relationships
colors relationships
concept 3
mastercopy outlines
MODERN MASTERPIECE
relationship selection
Students spins wheel to select the type of paint and what color relationship they have to use. Kit would come with all the painting materials needed.
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professional validation PHIL HOLCOME Phil Holcombe founded PlusUs, a Philadelphia based educational design consultancy, in 2010. Working nationally and locally, Phil has produced engaging curricula, redesigned classrooms, and crafted compelling brands for a variety of clients invested in education. Phil is a professor at the University of the Arts, and teaches design thinking at the Franklin Institute. Phil is a graduate of the Rhode Island School of Design.
RESULTS INTERESTING, BUT NEEDS SOME WORK
favorite
least favorite
concept 1
concept 2
concept 3
PAINT MIXING
COLOR MATCHING
MODERN MASTERPIECES
TOO STRUCTURED
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“I think concepts that use the skills you’re trying to teach them as a means to an end, create a painting or play a game, rather than the end themselves will be more successful.”
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refined concepts CONCEPT 1: COLOR CARDS
THE IDEA OF PHYSICALLY CONNECTING COLORS IS INTERESTING
teaching cards
reinforcing cards
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creating cards
MAYBE PAINT ISN’T THE BEST MEDIUM FOR AT HOME PLAY?
CONCEPT 2: MODERN MASTERPIECE
color wheel spinner
mastercopies
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physical refinement ROUND 1
ROUND 2
ROUND 3
final(ish) hit
FOCUS ON JUST ONE COLOR RELATIONSHIP AT A TIME. DIFFERENT COLOR RELATIONSHIP PACKS TO BE SOLD INDIVIDUALLY.
BAD CONSTRUCTION AND THE BLANK SPACES ARE TOO LARGE TO FILL WITH MARKER.
IT WORKS, BUT THE LEARNING IS NOT WORKING AS EXPECTED. NEED TO SIMPLIFY
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student validation
STUDENTS WERE NATURALLY INCLINED TO FOLLOW AND CREATE
STUDENTS AGES 7-10 DID THE BEST WERE MOST INTERESTED IN THE PRODUCTS
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final product
THE CARDS
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focal point
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Design Goals (student learning outcomes) 1. introduce focal point as vocabulary introduce focal point as the most important part of a design or composition. It’s where your eye goes first
2. practice creating focal points use contrast to call attention to the focal point
3. discover that different kinds of contrast create focal points color, location, shape, balance, proximity, and unity can all be used to create contrast for the focal point
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initial concepts
WHAT IDEAS ARE VITAL TO UNDERSTANDING A COMPOSITION?
FOCAL POINT
CONTRAST
EXPLORE DIFFERENT WAYS TO CREATING CONTRAST
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concept 1
prompt cards
STAMP & INK Students select three prompt cards: color, shape, and focal point. Using the colors (inks) and shapes (stamps) the student has to try and make the shape on the focal point card the focal point of their composition.
stamps & ink
paper
packaging
concept 2
SCAVENGER ART Students are given a series of guided collages that illustrate different ways to create a focal point. Students are encouraged to find their own collage materials and collect them in the pockets that live in the binder with the collages.
binder & collection pocket
collage pages
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professional validation PHIL HOLCOME Phil Holcombe founded PlusUs, a Philadelphia based educational design consultancy, in 2010. Working nationally and locally, Phil has produced engaging curricula, redesigned classrooms, and crafted compelling brands for a variety of clients invested in education. Phil is a professor at the University of the Arts, and teaches design thinking at the Franklin Institute. Phil is a graduate of the Rhode Island School of Design.
THE IDEA IS INTERESTING, BUT NEEDS A LOT OF REFINEMENT
RESULTS favorite
concept 1
concept 2
scavenger art
stamp & ink game
IT’S NOT BAD, BUT THE TEACHING FEELS TOO STATIC
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“Students will learn key skills if allowed to freely pursue them. Too much structure results in student disinterest. I see the biggest challenge in this project being how to provide enough structure to teach these skills while still allowing the activities to feel fun and un-regulated.�
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refined concepts CONCEPT 1: STAMP & INK FACILITATES PLAY TO LET STUDENTS DISCOVER THE IDEA OF FOCAL POINT THEMSELVES
1. pick
2. play
3. ask
what is the focal point?
what is the focal point?
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COLLAGING IS FUN, BUT THE FACILITATION ISN’T THERE
CONCEPT 2: SCAVENGER ART
collage outlines
color
converging lines 45
density
shape
physical refinement ROUND 1
ROUND 2
ROUND 3
final(ish) hit
FINAL 16 BLOCKS FIT INTO 6X6IN GRID FOR PACKAGING AND HAVE VARIETY OF SHAPES
LOVE THE SHAPES. DON’T LOVE THE CARDS. STAMPS ARE WORKING, NOW WHAT WILL THEY LOOK LIKE?
DITCHED THE CARDS FOR SELECTION PAPERS. LOVE THAT. STAMPS ARE LOOKING BETTER. NOW WHAT ABOUT THAT RUBBER?
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student validation PARENTS LOVED THE STAMPS
STUDENTS UNDERSTOOD IDEA OF FOCAL POINT, BUT THE LANGUAGE WAS CONFUSING TO SOME
STUDENTS LIKED ACTIVITIES BUT OFTEN WANTED TO CREATE THEIR OWN ART
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final product
HOW TO PLAY F O C A L P O I N T
A focal point is the most important part of an image or composition. It’s the thing that stands out. Create your own composition with a focal point. Circle what color(s) to use, what stamp(s) to use, and what shape should be your focal point. Use those constraints to create a masterpiece. Challenge yourself or challenge a friend to see if they can guess what shape is your focal point.
color
stamps
focal point
1. FILL SELECTION PAPER This creates constraints for your design, because a design needs constraints. A design without constraints is just art.
2. USE CORRESPONDING INK COLORS AND STAMPS
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3. CREATE A COMPOSITION WITH A FOCAL POINT Try to have someone correctly identify your focal point or just bask in the glory of your beautiful and functional design
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GAYLE ULRICH
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DA AP WORKS 2015