“Design is not just what it looks like and feels like. Design is how it works.” —Steve Jobs
• Where and how do we encounter images in our world?
• What is graphic design?
• How do designers grow and become accomplished?
Students will…
• Generate multiple ideas in the form of thumbnail drawings;
• Determine which of their ideas are the best;
• Make roughs;
• Make a final comp.
In the intro to their documentary The Universal Arts of Graphic Design, (see Figure 1) PBS Digital Studios describes graphic design thusly:
“Though often overlooked, Graphic Design surrounds us: it is the signs we read, the products we buy, and the rooms we inhabit. Graphic designers find beauty within limitations, working towards the ultimate goal of visually communicating a message. Utilizing a language of type and imagery, graphic designers try to make every aspect of our lives defined and beautiful.”
FIGURE 1: The Universal Arts of Graphic Design (www.pbs.org/video/2311391293), PBS, Digital Studios.
< Click to play the video
A brief list of careers in graphic design includes:
advertising (promotional) design
book design
book jacket design
brand and identity design
corporate communication design
editorial design
environmental design
interactive (experience) design
illustration
information design
motion design
package design
publication design
retail design
wayfinding design
While this is a good “nutshell” description of graphic design, in contemporary society, design has grown beyond only being a means to organize a visually cluttered environment, or to persuade, inform, and organize an audience to meet the needs of business and industry. Design has become, as Richard Grefé, former Executive Director of AIGA, defined it, “the intermediary between information and understanding.” Properly applied, effective design—design which solves specific problems—can influence individual and group behavior, political policy, and even society.
While traditionally the term “graphic design” has referred to two dimensional surface design—the arrangement of text, images, and color to express a message—the discipline has evolved to incorporate three-dimensional objects and spaces, and time-based audio/visual experiences. As graphic designers now find work in every field from publishing to entertainment, the sciences to finance, and are incorporating traditional media such as print and television with new and emerging technologies such as smart phones and virtual reality, now more than ever, design education is a lifelong endeavor. By focusing on the visual communicative fundamentals of art and design, in combination with creative thinking and problem solving as opposed to technology, this curriculum aims to prepare students to be lifelong learners able to thrive as the methods of information communication and consumption continue to change.
In addition to design studios and advertising agencies, graphic designers also work as in-house talent for companies, for traditional and for new media content creators and publishers, and even as individual entrepreneurs. The practice of design is highly collaborative, and designers frequently work with writers, illustrators, photographers, printers, advertisers, marketers and other professionals.
Beyond these more traditional roles, designers are finding their creative problem solving and communication skills in demand in a growing list of industries, including government and public policy, insurance, health care, architecture, environmental services, and engineering. Graphic design is a competitive and ever-evolving profession that offers an expanding and rewarding number of career paths to the curious, determined, and hard working.
One of the key skills all designers must develop is a sensitivity to and awareness of the activity in the larger design community. For students just beginning their design education, knowing where to look can be confusing. In addition to traditional periodicals such as Print and Communication Arts, portfolio sites such as Bēhance.net can expose students to the work of professional and student designers from all over the world. Find and follow at least ten designers (via Bēhance, Instagram, or Pinterest) that you find to be inspiring.
OBJECTIVE
This is an introduction to a traditional, multi-step design and development process (thumbnails, roughs, and comps), while utilizing the elements and principles of two-dimensional design to solve visual problems. Another goal is to help you create meaning with abstract images using the visual elements of design: line, shape, texture, and color (more on this in Unit 2). This process may feel awkward at first, as you are used to creating one idea and making it into art, but designers generate many possible solutions to a problem as a way to improve the quality of their work. Making abstract images allows ambiguity to exist, and ambiguity allows for many interpretations. For example, the final comprehensive design could be a closeup of a cow, or fabric floating in the breeze. Practice is key to feeling comfortable using the design process, and these introductory assignments are designed to give you the practice you need to develop confidence in your ideas.
SPECIFICATIONS
Students will accomplish the following:
Create 16 thumbnail sketches for each of the four assignments.
Look objectively at your ideas, show them to other students to evaluate the three ideas are the best. This, too, may feel awkward because it is a new skill. With practice, students will feel comfortable evaluating their own and others' ideas to select the three best ones. Remember: there are not just one, but many right ways.
For the top three selections, create three rough sketches for each of the four exercises.
Evaluate the rough sketches using the same peer-review process as above to select the one they think is best, then create a single, neatly executed comprehensive design for each of the four assignments.