Expectations:
The designer will create a historically visual examination of the creation and utilization of the influential, revoltionary art school, the Bauhaus. Investigation of the origin, notable professors, and influences that the Bauhaus has had on art education today, are expected to be presented in a manner that utilizes imagery, typography, concept, and experimentation. The information should be presented in a manner that will allow the viewer to follow along with a history of events and understand the impact of the modern day art institution. A sense of conceptual and informative aesthetic should be presented in a format that will represent the designer’s voice and understanding of the Bauhaus aesthetic.
Any and all avenues should be explored in the investigation of the Bauhaus. The designer’s reaction to the Bauhaus and the respective aesthetic should be visually demonstrated. An abstracted idea of the ideals of the Bauhaus should be evident through both viewer discovery and language development. From those ideals the designer should present the effect that the Bauhaus has on their work. A positive or negative perception may be gathered from this aesthetic, but should be presented in a manner that is informative.
Concept:
The goal of this format was to communicate the important figures and motifs of the Bauhaus and then to break these entities apart. Through the use of a form than can be manipulated in a way that will abstract the colors and compositions, the realization of this format is one that is open to interpretation and decided form. The use of both positive and negative space played a role in the development of this structure.
Expectations:
The designer
will conceptualize and develop a personal space of thought that is both
reflective of the designer as well as creative and unique. Aspects
that should be taken into consideration should include:
How is the space used?
How does one interact with the space?
What will be within the space?
How does it reflect the identity of the designer?
Methodology
and materials are open, as hand construction can be just as admirable
as digital construction. Keep in mind the size of the space as well as
the materials that will be used within the making process. Are these
sustainable and green, or do they speak a particular aspect about you?
These must be academically supported within a typed statement that will
be handed in on completion of the project.
Concept:
Space has become equivalent to thought. The established
environment can only be experienced through the mind of the designer. This
designer must dwell inside of his thoughts in order to develop a sense of
identity; therefore, the developed personal space is the mind.
Thought processes involve mental imaging and repetition
of ideas. This concept has been represented through the complex linking and
interlocking that takes place during brief moments of thought. The idea that
the mind of a designer is one’s dwelling space can only infer that one must
experience, collect, and assess information that can be stored for future
endeavors. This space becomes a depository of information, ideas, experiences,
and knowledge.
Further development was considered through the use of
intricate structures that have a sense of organization and dysfunction. The
designer’s space will inevitably become cluttered with ideas and confusion, but
must also maintain a system of structure and navigation. The links between
individual ideas and the repetition of those ideas can lead to new avenues of
exploration. The designer must create this space and dwell within that
established environment.
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| Screenshot 1 from Google SketchUp structure |
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| Screenshot 2 from Google SketchUp structure |
Expectations:
Develop an family of one to three [1-3] vessels which
will contain completed porfolio formats. Take into consideration cadence, functionality,
and abstraction.
Concept:
Creating a portfolio piece that is both visually engaging and interactive was the goal of this project. The housing of the CD within the vessel was the main focus, and the representation of the designers portfolio should be represented throughout the format. The use of pattern and samples of my own portfolio were used to add interest through viewer discovery and modular activation. This piece was designed to present the designer to the client of prospective employer in a manner that will demonstrate proficiency and knowledge of skills within the realm of design.
Expectations:
The entire foundation and methodology of graphic design is based primarily upon the relationship between the work and the viewer. The intention of the work, how the work will effect the viewer and vice versa, and the environment and culture of the viewer, are all important factors in creating an effective design that maximizes the impact of the relationship between the viewer and the piece. Unfortunately, all these factors are based on the assumption that the viewer of the piece is actually able to interact visually with it. This assignment challenges the designer to create a piece not intended for a viewing public, rather, to design a piece that allows for interaction without visual cues.
The student is to create a broadside for a fictional event called, “Third Eye Guided.” The event will be a celebration of visually impaired artists and musicians and will promote the advancement of the creative arts for the blind. Because the piece is intended to be experienced without the aid of visual stimulus, the student is invited to consider additional elements, such as texture, form, space, and sound to best communicate with the target audience, the visually impaired.
Concept:
Creating a poster for the visually impaired forces the designer to think about the interactivity through means other than visuals. Though visuals are the most often utilized means of communication, other ways of interaction are available to the hand of the designer. Individuals who can't see to interact with a broadside must use their ability to touch, hear, or smell the design, and the use of touch is the most easily controllable factor within these options.
With my broadside texture and temperature are the most important aspects of communicating ideas. The use of cool metal and warm lights can give the person interacting with this format a sense of hierarchy and further identification than would be achievable through texture alone. Heat can indicate a higher level of importance and allow the visually impaired the ability to understand the event that is taking place.
Expectations:
Construct a methodology to present final realizations.
Utilizing a digital sketch tool, capture the aspects of your environment which have become typographic.
Understand the uses of positive and negative space.
Concentration should be on the typographic elements based on historical research.
The number of images will reflect the standardized set of letters in the English language, (Roman Majuscule and miniscule)
Concept:
The creation of typographic matrices through visual discovery and uninterrupted collection. The goal was to find, evaluate and capture images of typography that can be found in my natural environment. However, while all of the entities should be located in my environment they should not be manipulated or disturbed in their natural habitat. The capturing of the images is the only impact I wanted to have on the surrounding environment. The main challenge was to find these matrices in a natural position that would allow them to be recognized as typographic elements.
Expectations:
The ring begins its origin with in the deserts of
North Africa with the Egyptians and has symbolized eternity. Having no
beginning and no ending, it is instantly recognized as the joining of a man and
woman as husband and wife. The hole of the ring its self is important as it
symbolizes a portal leading to the discovery of both the known and unknown. The
ring is worn on the third finger because it was believed that the vein of that
finger traveled directly to the heart.
With the aforementioned in mind, concept and design
roughs and eventual renders of matching wedding rings to be later produced
professionally by a jeweler. The design of the rings must centralize around
unity and must connect or intertwine in some fashion when they are not being
worn. All attempts should be made to steer away from the commonly used methods
of combining the rings, try to be as original or creative as possible. The
design of these rings should be experimental and have a perception of its
initial creation and utility. Final delivery will be color formats of the four
views of the finished designs: Front, Back, Top View, and Bottom View.
Concept:
Creating such an personal and intimate piece of jewelry can really be difficult when thinking about the purposes of wedding rings and their value to modern day society. The intertwining element of these rings is the most important function in this format. Many physical methods of intertwining the rings could be pursued, but a more emotional connection was the main goal.
Through the use of extruding letters located on the inner surface of the ring, they were meant to leave an impression on the skin. This impression when coupled with the partner's impression will form a phrase that can only be read when the two hands are physically engaged. This coupling of words can have a more powerful sense of intertwining than simply locking the two rings together, but still have the same function.
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| Screenshot from Google SketchUp model |
This was the first step for the selection process of the NPDA designer + illustrator groups. Each participant was tasked with the assignment of creating an accordian folded format that responded to one single concept: grass.
This is the final stage of the NPDA broadside. This broadside was selected to represent Memphis College of Art in the National Portfolio Day Association Broadside competition.
The third phase of the NPDA development process is to present the front and backside of one version of the revised concept. We decided to show two versions of the same concept
The Second phase of development of the 2012-2013 NPDA broadside. Five
revisions to a single selected concept.They should include front and
backside of the broadside.
First Developmental stage for the creation of the 2012-2013 National Portfolio Day broadside. Five distinct loose concepts created and presented digitally for the front only.
They shall be diverse and not variations on a theme.
Nomenclature of Memphis College of Art design club: 100 concepts
Quick concepts that encompass suggested names and related terminology. Some examples pursue humorous avenues while others investigate simple relationships.
Thoughts Made Visual, Communicators, Kerners, Majuscules + Miniscules, PICA (People In a Creative Association), WYSIWIGers, Justified League, Serif shooters, x-heights, Ligatured Learners, Lorem Ipsum, Helvetica, Vectorizers, Drawing Inspiration, Doodlers, Applied Intentions, Problem Solvers, CMYK, RGB (Really Giant Brains), Edit>Undo, Command+Z, Tracking, Thinking-Out-Loud, Perception, Determining Society, Pixelators, People Who Draw Good, Builders, Concept Crew, Creative Connoisseurs, Grid, Rasterizers, Intelligent, No Gradients Allowed, Font, Typography, Crop Marks, Debosses, Embosses, Die-cut, DPI, T-squares, X-acto blades, Geometry, Type setters, Duplex, Ambidextrous, Sketch, Minds in the Gutter, Alley, Margins, Ampersand, Methodologists, Layout Lovers, Lithographs, Perfectly Bound Together, Spine, Filters, Base-liners, Tabloid, Full Spread, Graphic, Organic, Mechanical, Portfolio, Substrate, Ink Heads, Varnish, Pencils, Paper, Pens, Interaction, Rendering, Tooth, Proportions, Modulators, 4-color, Printing, Imagination, Through the lens, Aesthetics, Technological Temperaments, Visual Functions, Form-Function-Design, Guild of Great Ideas, Sticky Thoughts, Elements of Design, Bringers of the Broadside, Creative Collaters, Colophon, Hallmark, Saddle Stitchers, Signature, Double-gate, Stock, Dust Jackets, Inspired Imagists, Sequences, Topology, Information, Color, Shape, Line, Form, Origins.
Of My Own Mind and Hand
A Visual History of That Which Came Before Us
The designer will create a historically visual examination of the creation and utilization of the influential, revolutionary art school, the Bauhaus. Investigation of the origin, notable professors, and influences that the Bauhaus has had on art education today, are expected to be presented in a manner that utilizes imagery, typography, concept, and experimentation. The information should be presented in a manner that will allow the viewer to follow along with a history of events and understand the impact of the modern day art institution. A sense of conceptual and informative aesthetic should be presented in a format that will represent the designer’s voice and understanding of the Bauhaus aesthetic.
Any and all avenues should be explored in the investigation of the Bauhaus. The designer’s reaction to the Bauhaus and the respective aesthetic should be visually demonstrated. An abstracted idea of the ideals of the Bauhaus should be evident through both viewer discovery and language development. From those ideals the designer should present the effect that the Bauhaus has on their work. A positive or negative perception may be gathered from this aesthetic, but should be presented in a manner that is informative.
The created format will conform to the following specifications:
The designer may use the previously noted specifications of the one-sided broadside, accordain fold, or pamphlet stitched formats. The selection and final construction of the format is open to the designer, yet the designer must also utilize the Fiery color laser printer to create the final format.
Size: The final size is open to the hand of the designer, but MUST FOLD TO [in inches, width preceeding height] 8.0 x 10.0.
Quantity Output: Two [2]
Font[s]: Open
Output: Color
Stock: Color Laser
Project number and name, designer’s name, date of expectation [in language] should be placed at the bottom right of the format one [1] inch from the bottom and left edge.
The following project will be due for ALL STUDENTS at 9:00a.m. on 09_15_2011.
EXPECTATIONS FOR TUESDAY, SEPTEMBER 20
PHASE 1:
Research the Bauhaus architecture, aesthetic, ideals, philosophy, notable professors and timeline. Imagery and information should be presented as a 24 page format that is comprised of color image tip-ins (at least 12) and written language. Layout and presentation of the 24 page format is completely OPEN, but attention should be given to cadence, presentation of language, presentation of imagery, and influence of the Bauhaus on modern day society.
Within the format you must also present 5 CONCEPTS in language of the desired method for completion of the final product. Describe the format, methodology, and intended visual execution within the concepts.
Construction of the format should be pamphlet stitched and digitally produced, but interior and exterior stock are completely OPEN.
Include name, date of expectation, and project number some where in the format.
Design of the format should be of the highest caliber.
END OF PHASE 1
Alston
Noun_Effectuation
Verb_Perform
Adjective_Executive
The visual and emotional attributes of that which is effectauted. What is considered performance, and what could be derivative of the execution of such acts? The exploration of that which is considered performance juxtaposed to that which is not intended to be visual. Must performance only exist in a visual realm? Effectuation as information will be a focus of conversation.
Alston
Noun_Methodology
Verb_Assess
Adjective_Escalate
Investigating that which is viewed as the methodology of a desired result. Assessing the attributes that comprise a process and evaluate the end result. Viewing methodology as the desired result. Examining the process as the influential determiner of all production. Viewing how methodology contributes to the escalating of established results and how methodology can be configured and deconstructed.
Alston
Noun_Phenomenology
Verb_Aestheticize
Adjective_Perceptible
The effect of visual phenomenology on total perception. The importance to aestheticize the establish concept will be a point of interest with that which is considered beautiful within the realm of vision. What is immediately evident, and that which must be uncovered through examination of presented information. Phenomenology as a system of informational processes through which all perception must be derived.
Alston
Noun_Cognizance
Verb_Familiarize
Adjective_Sentient
Familiarity with cognizance and awareness of the current system. The examination of the conscious and the unconscious, and the role of the sentient entity within previously noted realms. Establishment of a perception and destruction of said establishment through recognizing influences of the uncontrollable. Viewer awareness dictates perception and conscious realization.
Alston
Noun_Exigency
Verb_Infatuate
Adjective_Voracious
What is of exigency? The belief of that which is necessary as compared to that which truly is needed is the basis for investigation. The obsession of entities versus the obsession with the infatuation of entities is explored through the context of modern day social structures with the emphasis on consumers. The voracious nature of society and the assumption of necessary consumption.
Alston
Noun_Actuality
Verb_Naturalize
Adjective_Metaphysical
The exploration of existence through the perception of the currently existing. Establishment of what is considered actuality through investigation of metaphysical notions. To naturalize to surrounding environment and within created systems. Understanding the importance of the reflectance on metaphysical existence without the ability to define the parameters of actuality is the focus of examination.
Alston
Noun_Corrigendum
Verb_Proliferate
Adjective_Inexorable
Inexorable corrigendum and the process of gaining knowledge through failure. Investigation of the proliferation of all entities after the encounter of errata. Success through failure. The inevitability of error of an imperfect entity and the experience that is established through time. All species must travel through corrigenda to gain an understanding of established existence.
Alston
Noun_Antithesis
Verb_Collocate
Adjective_Divergent
Examining the creation of entities through the establishment of an antithesis. Collocate the created with the divergent through establishment of what can be considered opposing. Asserting and reaffirming existence through the development of an antithesis and viewing the relationship of said existences. Opposing matters becoming essential to each other, and the juxtaposition of those matters to investigate existence.
Alston
Noun_Hierarchy
Verb_Systematize
Adjective_Intransigent
What is necessary to comprise a system? Viewing system as existence. Must a system contain hierarchy, structure, function, or establishment? Investigating that which establishes hierarchy in conscious and unconscious existence, and the exploration of a lack of integration within a system. Intransigent thought within a determined structure. Levels of power within a hierarchical entity or lack there of will be explored through the lens that contains preconceived notions of that which is understood as order.
Alston
Noun_Apparatus
Verb_Facsimiled
Adjective_Mechanistic
The investigation of that which constitutes apparatus. A development of system, order, process, assembly, purpose, and function will build upon the defining premises of structure. Discovery of an entity which is mechanistic in nature because the nature of that entity has been previously established. Apparatus as structure and control. The aesthetic, development, and maintenance of that which is considered to be a tool but also what is found necessary for existence. Further examination of creation that is facsimiled to repeat the production of efficiency.
The concept of my structure is to utilize both geometric and organic forms in a manner that creates an interesting juxtaposition, while creating something that can be integrated into the surrounding environment. I believe that my structures will react in a very positive way to the surrounding areas, by activating the environment, but also becoming apart of the natural elements. Another element of my structure is that the open shapes of the inner parts of the sign frame the surrounding area. The environment becomes part of my sign and is therefore activated and an integral part of my structure.
In dealing with the realization of my structure through physical development I have decided that I will be able to reach the size that I would like. The predefined settings of our source of output, ponoko.com, will allow me to create at my current intended size. An important aspect of my structure will be the encompassing layers, along with color. I still have not decided on the final color, even though my current thoughts are leaning towards green. I plan to utilize acrylic, felt, and possible others layers within my final maquette. Some sort of metal would add a nice texture into my current combination, but I am particularly interested in some of the lighting effects that are available through ponoko.com. The use of materials such as felt and acrylic are inexpensive options, but metals and/or lights would add more to the overall cost of production.
Examples of my structure in an environment:
