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.
