Who we are: Designers and Forests is a group of invested and interested individuals from around the world and is growing. The forests of the world are connected through climate, international trade, and governmental policies. Through similar traditions of forestry, agriculture, and craft. We feel that our experiences working with and handling forests should also be connected. The founding members of the group are composed of individuals from the United States, (New York, Utah) and Sweden. We are educators, designers, foresters, scientists, storytellers, community organizers, and students.
Who we seek: The project is seeking interested individuals from various backgrounds who wish to join our conversation about forest and community health. We are educators, graphic designers, furniture designers, foresters, and community activists. We seek collaborators, designers, and artisans who are interested in exploring new materials or old materials in new ways. We seek scientists and foresters who can inform and educate about pest, weaknesses, and forest health. We seek community members who are looking for alternative means to traditional economies. We seek storytellers who can share the narratives that bind us to places and teach us lessons from the past.
When it will happen: During the summer of 2013 we will assemble as a small group in the forest and rural communities of Utah to begin the conversation. This event will take place July 29–August 10, 2013 and will include workshops, seminars, and site visits. During these two weeks individuals will meet to define the parameters of the project. Expertise and knowledge will be shared. A solid plan for continued collaboration will be fleshed out.
Interested individuals are encouraged to contact the project organizers directly by email: email@example.com
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Interested, interesting people are encouraged to apply by submitting an email to Dilworth@fredonia.edu. Write FUTURE BLITZ SUBMISSION in the subject line of the email. Paragraph should be no longer than 122 words. It should explaining why they are interested in participating. It could explain where the center of the universe is located.
The Future Blitz will require dedication. It will be immersive and intense. Applicants should be prepared to spend each day working on the project. Semi-Curious people are boring. Questions can be directed to Jason Dilworth at Dilworth@fredonia.edu.
To offset the cost of the workshop participants will be asked to pay a small fee.
Students $25| Community $40
Quantifying Cumulative Typographic Knowledge
For two thirds of the semester we have been looking at ways that we can improve the world that we see through typography and conversely the way the world sees typography. As a practice typography is tied to literacy and content. This is a simple fact and from this simple statement there comes a world rich in variation, rules, styles, and movements. A typographer must become aware of these and seek to better understand them. It is with this thinking, that I encourage you to begin your final project for this semester. With it you will be asked to show evidence of your cumulative typographic knowledge—the understanding of typographic forms and histories will be important. Establishing hierarchy will be critical.
For this project you will be asked to create a mock up of a universal national identity card. As part of this process you will research the issue. Politically you may be offended by the idea or you may be supportive; I encourage you to take a stance on the topic but your opinion will be irrelevant. Your task as a designer, what you will be evaluated on, will be to objectively respond to the need for then create a system for the card. This will include the creation of the applications and forms necessary for your imagined and ultimately realized identity card.
- Show a solid understanding of typographic anatomy
- Show an introductory understanding of typographic style
- Show the ability to solve problems with the use typographic solutions
- Show clear logical hierarchy in the creation of finished work
- Show visual and typographic research
Nationally our law making bodies speak of securing boarders, broken immigration policies, and lives wrecked by a failed system. Identification cards have been proposed as one possible solution. The idea is much bigger than we can address here. This is not the intent. The intent is to visualize what these cards would look like? What would they do nationally for pride, fear, crime? Nothing exist in a bubble.
- Move through the systematic design process of defining, gathering, ideating, synthesizing, and realizing.
- Each project must include:
- A design for front and back of a Universal National Identity Card
- A form or application to be used by an individual applying for the national identity card.
- significant research into the subject
- Present your concept mounted on presentation board with explanations of your typographic decisions and overall concept.
April 15/16 | DEFINE, GATHER
Introduction to the idea of the UNIC.
Gather possible forms visit DMV, Post Office, Fredonia’s Fredcard system.
Leave class with a definition of what you’ll be working on. And a good solid list of what needs to be included on this card. Have reasons why?
April 17/18 | GATHER, IDEATE, SYNTHESIZE
Over the weekend continue to research and explore the idea of an identity card. Look for examples. Begin mocking up ideas. Brainstorm sizes, proportions. Look for typefaces that could work with your idea. Is there a national typeface? Could there be? What about languages?
April 22/23 | REALIZE
Come prepared to show and talk about your concepts. Show examples from gathering phase. What is the state of the art regarding identity cards? Use the class period to work on realizing a solution. Decide on a typographic scale.
April 24/25 | CRITIQUE, REVISE
Come prepared to pin up examples of your fully mocked up forms. The class will participate in a critiques of the typographic factors. Plans for improvement will be given to each student.
April 29/30 | REALIZE
Improvements from our critique should be realized by beginning of class.
May 1/2 | REVISE
Last opportunity for criticism from peers. Have print-out of latest work. Group mini-crituques. Iron out any rough spots. Make plan for improvements
May 6/7 | Critique
Last critique. Have both forms and id cards ready to pin up by the beginning of class.
May 8/9 | REALIZE
This last opportunity for one on one meetings with the professor. Sign up for a slot. Bring any work that you wish to have evaluated/critiqued.
May 13–17 | FINALS
Section 1 Final Thursday May 16, 4–6pm | Section 2 Final Friday May 17 1:30–3:30pm
Gig Poster: Innovation & communication
Using what you have learned about form, type, image, color, hierarchy, and invention you are going to make a poster for a musical performance. You may love the music you are assigned, you may hate it, or you may be ambivalent, but you must find a way to make a convincing poster. This means listening to the recordings and finding something you can relate to and can use as the basis of your piece. Remember that it is your job to not only communicate the nuts and bolts of information, but to also convey something of the nature of your musical group and to capture the attention of your audience.
- ·To visualize abstract information.
- ·To gain experience developing effective solutions for unfamiliar and/or unappealing content
- ·Utilize the design process to arrive at a visually sophisticated solution
- ·Show a comprehensive working knowledge of color theory in the design process.
- ·Successfully merge type and image to create visual hierarchy and harmony.
- ·Tailor your design for an appropriate audience.
- ·Final scale must be 11 x 17 inches or 17 x 11 inches with a full bleed.
- ·Work must include all the information specified on the assignment sheet. You may alter the wording (for example; Thursday April 21 could become Thursday 4.21.13). Some events have a lot of information but it is essential for your performance.
- ·You cannot use existing imagery, logos or motifs of the band.
Part 1: Getting to know your client Due 4.22
Listen to your music. Give yourself at least an half hour to just listen to it and do nothing else. Then, take your sketchbook and draw ANYTHING that comes into your head as you are listening. Fill up five or six or more pages.
Part 2: Research and ideate Due 4.22
Research your musician, composer, or group, as well as the venue and city. Use this information and your sketches to help your create sixty thumbnails of at least five different concepts. The size should be around 2.5˝ by 4˝ and should be numbered and done by hand. Use colored pencils or markers as you sketch
Part 3: develop Due 4.24
Choose your five strongest compositions and develop them as roughs. Specify the type, indicate the illustrations or photographs. Your scale should be about 5˝by 8˝. Experiment with your color palette. Due 4.24
Part 4: Generate imagery Due 4.29
Choose one of your designs and develop your imagery. Bring the work or printouts to class 4.29
Part 6: Integrate Due 5.01
Bring your imagery, typography and other design elements together in the computer. Try variations on type and color. Print out small copies of your experiments as you work for your Itoya. Due 5.01
Part 7: Finalize and critique Due 5.06
Finalize your best design. Develop all the details of type and image. Due, printed out, tiled at full size for final critique: 5.06
Part 8: Refine & Print Due 5.08
Make any corrections, submit your final for printing on the Print Server by the end of the class 5.08
Part 9: Submit Due 5.15
Pick up your final poster, trim to size and hand it in with your Itoya and Essay. Be sure to include a letter-size color printout of your final poster in your Itoya for me to mark on.
Final: 5.15, 13:30–15:30
Using the reordered information from the Rockefeller Arts Center Spring 2013 event guide create a typographic poster. Color, imagery (photographic and illustration), and pattern can be explored. However, your focus should be on communicating effectively with type. Use the two random words that you were to given as a starting point to help develop a concept. Establish a clear hierarchy, Include all events and dates. How you choose to do this is completely up to you. Be sure that your poster can answer all the questions: who, what, where, when, why?
50cm x 70cm (That way two can be printed side by side on our canon printer).
Tuesday April 2 / Wednesday April 3
Critique 3 concepts (2 scaled 1 full size tiled).
Pin up work before class.
Thursday April 4
Monday April 8 / Tuesday April 9
Wednesday / Thursday
Projects due in print que / Prepare Itoya
Due with Itoya
Monday April 15/Tuesday April 16
Inside brick and mortar stores stories compete for your attention. Book covers house worlds, unique, specific, fantastical, and informative. They represent pure design, the combination of type and image. The cover offers protection for the pages of the book the design of the cover offers information, commentary, and intrigue. With this project you will design a book cover.
- Introduction to design project briefs
- Utilize the design process to arrive at a visually sophisticated solution
- show a comprehensive working knowledge of color theory in the design process
- Provide an educated visual summary of the book
- Successfully merge type and image to create visual hierarchy and harmony
- Tailor your design for an appropriate audience
- Final sacle must be at least 8 x 5.25 x 1 inches. If you book is larger, you may use that size. Trim your printout and present as a book slipcover
- Work must include all the elements listed on page 161 of the reading from Book Design by Andrew Haslam (pdf)
- Blurb must be written by you
Part 1: Semiotics Reading Due 3.11
- Read chapters 1–3 Visible Signs by David Crow
- Write summary of reading
Part 2: Restate and define problem Due 3.11
- Write a summary of the book including a personal analysis.
- Begin the construction of project brief. Focus on defining the problem, design strategies, and audience
- Read www.nytimes.com/2008/03/16/books/review/PaperRow-t.html?_r=0
- Read www.guardian.co.uk/books/2013/feb/08/anne-green-gables-blonde-red-hair
Part 3: Research Due 3.18
- Read Book Design Handout, Andrew Haslam
- Read Type and Image pages 17–40
- Judge a book or five by its cover. Scour libraries, book stores, basements talking special care to find books with covers where the design interest you
- Provide a detailed analysis of the design of these books using A. Haslam’s classifications system
- Come prepared to present your findings in class
Part 4: Conceptualize and Formalize Due 4.3
- Read Type and Image pages 41–67
- Sketch, Conceptualize, make mistakes, experiment
- Consider how you may use iconic, indexical, and symbolic elements to hint at the story
- Work towards creating visually interesting compositions
- Establish a plan for creating visual hierarchy
- Experiment with different methods of creating images
- Take photographs, create illustrations, make collages, geometric layouts
- Explore several color palette options
- You SHOULD create at least 30 thumbnails followed by 5 to 10 roughs
Part 5: Finalize and Critique Due 4.8
- Finalize 1,2, & 3 compositions, do not lock into anyone idea just yet
- From your examples choose one solution that best solves the design problem
Part 6: Refine & Print Due 4.22
- Submit final pdf to print log
- Answer additional Itoya Questions (How will your design expand the potential audience for your book?)
- Create a separate essay discussing the ICONIC, INDEXICAL, and SYMBOLIC content for your cover design