Visual Arts Department/Ball

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Trademark Design Trends: 2008
http://www.logoorange.com/logo-design-08.php

A bit of Design History of trademarks:
http://www.logoorange.com/logodesign-A.php

And something to get you thinking (and looking): DO try this at home, too. 
http://www.joeykatzen.com/alpha/

Applying Design History

Research: 
	Who are the key names in design of the last century? What makes their work so special? (a list 
has been provided of designers who have made important contributions.) How can we learn from 
their successes?

Who are the key players in the design of the last century? schools of design, schools of thought 
e.g. Swiss Modern Design, Grunge. Also, what areas of design are important (magazine layout, 
typography, illustration, interactive media, signage, corporate trademark design, environmental 
design, packaging and product design, architecture, fashion) are represented in the designer's work? 
Does the designer work in more than one area at times?

Collect visual reference material for each of the designers on the list. (Samples of their work, 
labelled; keep copy of source URLs)
Organize them into a Word or InDesign file, with pictures and text. 
Keep record of all useful websites visited, include the addresses in your findings.

Include:
- at least 2 different images (and types of works, if possible) for each designer on the list 
- include the names/titles/dates of any images or artworks you include
- a quote by or about the designer
- the education path chosen by the designer
- exploration of many fields of design

In point form, list why their work is important, and how it is different from others in the same field. 
Be specific. 
	
	
Steps

•	begin active research - internet, books, magazines, actual items designed by identified 
designers

•	make record of important finds (download images, make notes in Word, make notes and 
sketches in notebook)

•	look for quotes about design by chosen designers, save in Word

Herb 	LUBALIN
	Tibor	KALMAN
	Debbie	ADAMS (CDN stamp designer)
	Paul 	RAND
	Ivan	        CHERMAYEFF
	Chip	KIDD
        Coco       CHANEL
	April 	GREIMAN
	Neville    BRODY
	Barbara	KRUGER
	David	CARSON
	Saul 	BASS
	Milton	GLASER
	Bruce	MAU (CDN)
	TadanoriYOKOO
	Stephan  SAGMEISTER
	Karim      RASHID
	Will          WRIGHT
	Frank      GEHRY
                        DSQUARED
        Paula       SCHER
        Massimo VIGNELLI
	Charles and Ray 	EAMES
	Frank Lloyd 	WRIGHT

October 6:
http://www.brucemaudesign.com/manifesto.html
You have been assigned 3 'instructions' from Bruce Mau's Incomplete Manifesto for Growth. 
You are to produce 4 postcards, with one instruction on each. (you are to do two versions of one of 
your choosing.)
2 must be completed on the computer. Use inDesign for all text.
1 must be completed NOT on the computer.
The 4th one is your choice (computer or not, or a combination)

Each postcard must be 4" x 6 " (10 x 15 cm), it may be either vertical or horizontal.
Each postcard must include the number of the statement, the large text, and the smaller explanation 
text. 
Choose or create images, photographs or designs to make your postcard extend the meaning of the 
instruction, and to bring attention to the idea.

You will have two complete class periods to work on this (October 7 and 8). They will be due at the 
start of October 9.

Absent students:
ST: do #s 42, 28, and one of your choosing.
HV: do #s 29, 5, and one of your choosing.

Tuesday, September 8
In class today, you will be asked to present your name to the class visually, so that it can be read by 
someone from across the classroom.

Tuesday, January 20

Today you are to work on the Port Credit Hockey Association 50th 
Anniversary project. Information is on the sheets at the front of class. 
There are black and white copies on the bulletin board over Eric and 
Kristie's computers.

There may be more information or source material here.
http://portcredithockey.com/50th.htm

Try and address their Design Criteria; but also feel free to make a better 
design by breaking their rules a little if you have to. . .

If any of you are interested, feel free to enter your work in the contest.

Also: all work will be stripped off the computers after class Wednesday. 
You should transfer your work to a USB key if possible so that you can 
save it. Something may be of use or value to you one day. Why not save 
it all?

Monsay, secember 15

The teacher will collect your Trademark projects and leave the in Mr. 
Parcher's room.
We will have our critique Tuesday.

Today, I would like you to make advice postcards (like we did for the 
Bruce Mau manifesto.)
This time, you are to write the advice. 
What advice would you have to a student in Desktop Design, or a 
post-secondary design program 
or field? 
You must: 
- Make two cards 4 x6 inches or 10x15cms. 
- Include your number, in Helvetica bold, stretched to 130% width. (start 
numbers at Sydney who 
will be advice card number 1 and 2, and count your way around the 
room. Students who arrive late 
will get numbers out of sequence. )
- relate your design to class, and your advice.

Have fun with it. Brainstorm first. Only one period for the two cards this 
time.

. . . .

First ten minutes of class: 
Working with your Rubric Group from yesterday, describe your criteria 
across four levels of success. 
Write this on one sheet for the group to hand in Monday. (with your 
names on it).

Then, at your computers:
Please take a few minutes to answer this Explore Design survey.
http://www.surveymk.com/ExploreDesignStudentSurvey2008

Also: during the class, please print our your design history (in black and 
white.) Colour later. Make 
sure your name is on your research work. Once you have printed it out, 
READ IT OVER. Make 
corrections to the printouts if you see any. I will review these copies next 
week, with your 
corrections 
on them.

And for the rest of Friday's class:
For the next stage of your project, you are to turn research into 
presentation. 
You are to choose two designers. One must be from my list. Both can 
be. You may add another 
designer - more specific to you, and not an 'easy answer on Jeopardy' 
design name.

You are to further research two designers who relate to you, who inspire 
you, or would be most 
beneficial for you to know more about. Next week, you will be creating a 
web site linking the two 
designers. 
Look for and collect for each designer:
education, philosophy, personal design history, sample projects, 
various aspects of design.

Save images and text in a folder on your desktop for use in class 
Monday. 
The design of your website should reflect the contributions of the two 
designers you choose. On 
Monday, we will discuss more specifics about what your page must 
contain, and what it must do.

Thanks, and have a good weekend. 
And by the way . . . there is a good little art show - FREE - at the Art 
Gallery of Mississauga up til 
Sunday the 26th of October. If any of you are looking for something to do 
- it's across the street 
from Square One, in Mississauga Civic Centre / City Hall. (The 
post-modern building with the clock 
tower. The gallery is on the first floor, in the south east corner. There are 
signs inside the building.)
Wall sculpture, paintings, bookmaking, video, drawings, Some 
interesting stuff.

Applying Design History

Research: 
	Who are the key names in design of the last century? What makes 
their work so special? (a list has been provided of designers who have 
made 
important contributions.) How can we learn from their successes?

Who are the key players in the design of the last century? 
schools of design, schools of thought e.g. Swiss Modern Design, 
Grunge. Also, 
what areas of design are important (magazine layout, typography, 
illustration, interactive media, signage, corporate trademark design, 
environmental design, packaging and product design, architecture, 
fashion)

Collect visual reference material for each of the designers on the list.
Organize them into a Word or InDesign file, with pictures and text. 
Keep record of all useful websites visited, include the addresses in your 
findings.

Include:
- at least 2 different images (and types of works, if possible) for each 
designer on the list 
- include the names/titles/dates of any images or artworks you include
- a quote by or about the designer
- exploration of many fields of design

In point form, list why their work is important, and how it is different from 
others in the same field.
	
	
Steps

•	begin active research - internet, books, magazines, actual 
items designed by identified designers

•	make record of important finds (download images, make notes 
in Word, make notes and sketches in notebook)

•	look for quotes about design by chosen designers, save in Word

Herb 	LUBALIN
	Tibor	KALMAN
	Debbie	ADAMS (CDN stamp designer)
	Paul	RAND
	Ivan	CHERMAYEFF
	Chip	KIDD
        Coco    CHANEL
	April 	GREIMAN
	Neville BRODY
	Barbara	KRUGER
	David	CARSON
	Saul 	BASS
	Milton	GLASER
	Bruce	MAU (CDN)
	TadanoriYOKOO
	Stephan SAGMEISTER
	Karim   RASHID
	Will    WRIGHT
	Frank   GEHRY
                DSQUARED
        Paula   SCHER
        Massimo VIGNELLI

- - - - - - - - - -
Archived material:

After reviewing graphic design of the last hundred years, and your 
findings from your research, choose two designers or schools of design 
for 
the 
following:

•   a web site or PowerPoint presentation

on the works of two related major graphic design figures of your 
choice, 
(the equivalent of 2 pages text, 12 point, 20 point leading) including 
analysis 
of works presented, each designer's contribution to the world of design , 
and 
examples of work (show their similarities, note their differences.) This is 
NOT 
a biographical paper. It should document their works, and contributions. 
It 
must feature images and a concise analysis of influential works. 
	Make a bibliography of your references/resources used for inclusion 
with 
your work.You must include their education.

•	find two designers or schools of design who make design that 
relates, 
that you can connect, and connect to

•	prepare an outline/flowchart for your interactive presentation

•	edit and refine your work, and your choices

•	explore ideals and existing works to inspire/direct 
your ‘related’ 
work

•	pay tribute, or homage in your work, but extend the ideals, 
make them 
your own

Factors in Evaluation:

Research; Selection of relevant info; Preperatory sketches; Use of 
materials, techniques and technologies; Use of lettering/typography; 
Experimentation within two chosen designers’ confines; Personal 
involvement 
in 
project / making it work; Overall visual design.
Designing with Ambiguity

- - - - - - 
4 identically sized squares on a page. (equal margins between, 
horizontally 
and 
vertically)
Left, right, and top margins must be equal.

In each box, place one existing letter

- 	simple letter
- complicated letter
- letter ambiguous
- identical ambiguous letter, in reverse (negative)

Work to accomplish each task, then to balance the page. Arrange them 
for 
maximum impact. Stretch 
each definition – is simple SIMPLE? Is complicated COMPLICATED?

- - -

Then
Same 4 squares format

choose one colour for each square to show each of sweet, bitter, spicy, 
salty

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