Syllabus/Typography 3

442 Typography 3 Tuesday/Thursday 3:30 – 6:10 am

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Syllabus/Typography 3 Instructor Office Hours Telephone Fax

Tyler Blik By appointment only. Instructor’s SDSU Office: 300-A (enter through classroom 300) 619-594-6601 (Instructor’s SDSU Office, Art 314-A) 619-594-6511 (School of Art, Design and Art History Office) 619-594-1217 (School of Art, Design and Art History Office)

Email

[email protected]

Prerequisites in 2012/2013 catalog Grade of C (2.0) or better in 341, 342A, and 345. Computer proficiency required with working knowledge of vector graphics, page layout, digital image editing, web design, and motion graphics software consistent with current industry standards. Proof of completion of prerequisites required: Copy of transcript. Note: Effective Spring 2013, Art 339A, 339B, and 339C have been eliminated and are no longer required. This is the last semester that 339A will be offered. Also Art 340 is no longer required yet is highly recommended as an upper division elective. [339A (Software for Graphic Design I), 339B (Software for Graphic Design II), 339C (Software for Graphic Design III), 340 (Photographic Imagery), 341 (Graphic Design 2), 342A (Typography 2), and 345 (History of Graphic Design)]

Proof of Completion of Prerequisites

During the first class of the semester you must hand-in as proof of completion of prerequisites a copy of your transcript or degree audit. Highlight your name, Red ID, major, catalog year, and prerequisite classes with grade earned. If you are working out of an earlier catalog year, make copies of the course descriptions and prerequisites and turn in along with your proof of prerequisites. Preregistered students who are unable to show proof of prerequisites the first day of class will be dropped from the class.

Department Crashing Policy

Crashers are admitted according to the School’s crashing policy.

Preregistered No-Shows

If a student does not show up for the first class and is not in class at the beginning of the second class, the student will be dropped from the course.

Typography as it pertains to your overall design pursuits > “The study and practice of type is a life-long pursuit that begins with a LOVE OF LETTERS and all they can do and say. Typography is language made visable.” —Eric Baker, AIGA – Designer, Educator, Design Historian

“Graphic designers apply what they have learned about physical, cognitive, social, and cultural human factors to communication planning and the creation of appropriate form that interprets, informs, instructs, and persuades. Graphic designers use various technologies as means for creating visual form and as an environment through which communication takes place. Graphic designers plan, analyze, create, and evaluate visual solutions to communication problems. Their work ranges from the development of strategies to solve large-scale communications problems, to the design of effective communication products, such as publications, computer programs, packaging, exhibits, and signage.” —National Association of Schools of Art and Design (NASAD), www.nasad.arts-accredit.org/index.jsp


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Syllabus/Typography 3 “Graphic design is an intellectual, technical and creative activity concerned not simply with the production of images but with the analysis, organization and methods of presentation of visual solutions to communication problems. Information and communication are the basis of world-wide interdependent living, whether in trade, cultural or social spheres. The graphic designer’s task is to provide the right answer to visual communication problems of every kind in every sector of society.” —International Council of Graphic Design Associations (ICOGRADA), the world body for professional graphic design and visual communication, www.icograda.org (AIGA is a member of ICOGRADA.)

Typography, “the way language looks” as Ellen Lupton puts it in Thinking with Type, is one of, if not the, most important aspect of graphic design. It is what sets graphic design apart and distinguishes graphic designers from other designers and from visual artists. Your understanding of type and your appreciation for typography will grow throughout the semester as you discover new opportunities for personal innovation and expression. Without a passion for and true love of typography you will fall short of becoming a successful designer. It is imperative that your revise and analyze your typographic solutions, continue to fine tune your problem-solving and critical thinking skills; and refine your conceptual approach to designing with type and to the crafts of typography, typesetting, and page layout. Always be open minded to try new things, to research and investigate the context of your typographic objectives.

Course Description

Typographic problem solving, including historical references (research), more complex exploration of typography as it relates to concept, grid systems, and use of non-traditional materials. Maximum credit six units with consent of instructor.

Learning Outcomes>

> Review typographic anatomy, vocabulary and historical type classification. > Expand knowledge of historical and contemporary typefaces, type designers, and foundries. The general rule in this class is if you use a typeface you should know its name, who designed it, and when. > Improve understanding of typographic syntax (structure). > Apply semantics (meaning) to typographic problem solving. > Experiment with ideation techniques, such as thought mapping and use of non-traditional materials > Work within a design process to plan, analyze, create, and evaluate visual solutions with focus on communication. > Design and work with grids and proportional systems, such as the Fibonacci series and the golden section. > Work with more complex textual materials. > Explore expressive and narrative possibilities of typography. > Work on single-surface and multi-page typographic layouts for print, screen, and film applications. > Improve critical thinking skills through interaction with other students in discussions and informal critiques. > Improve presentation skills in formal critiques. > Further develop software skills particularly in InDesign.


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Syllabus/Typography 3

Projects and Assignments

• Hand-rendered Word Treatments > Expressing and Conveying Meaning Through Form: Using string, tape and other various gestural tools or objects, students will create a series of hand-rendered single or double word treatments that communicate meaning through form. Words will be derived from social, political, or environmental issues that reside in contemporary culture. You will develop multiple word explorations and solutions, eventually presenting three (3) finals (one of each medium), which have been scanned and digitally refined based on feedback during critiques. Words will be based on concepts to address social, political or cultural issues. • Poster or Animation Featuring Hand-rendered Word Treatments: Together we will determine your most successful expressive word solution and design either a poster or animation sequence. Your social, political, or environmental expressive word solution should be the main focal point of this assignment. Each student will research their expressive word subject matter and you will be required to provide additional content (minimum 150 words) that will support your message and creative concept. • Personal Identity/Communications Package: Design a personal logo or wordmark to be applied to a standard communications package (letterhead, envelope, business card, thank you card). Your concept should reflect something about yourself, your passion, and/or your design practice, based on key words: creative, thought provoking, intuitive, reliable, responsible, contemporary, etc. This project will focus on typographic expressions, as they pertain to your identity as a designer. We will explore paper solutions, printing techniques, and basic business communication protocol as you embark on your professional career. • “The Alternative” > Inform and Engage Through Type: Mid-semester for five (5) consecutive weeks you will create expressive typographic layouts for a fictitious weekly cultural event section that identifies San Diego’s best alternative entertainment events. Each week we will review design/layouts as a group, providing critical feedback, from which you will refine into a final solution the following week. Please visit this link for examples and inspiration • Deconstruction/Reconstruction of Food Packaging: You will select packaging of a particular food item of your choice and typographically rearrange, re purpose, and design the packaging so it brings new meaning and/or context to the copy points behind the product. •

Micro/Macro Booklet > Speeches by Presidents/Famous Activist: Research and develop content for a 20-page Booklet that includes five original photographs and two parallel texts (a micro and a macro), which are typographically distinct yet interrelated. The macro text will be a speech by an American president or famous social activist (Thoreau, Jane Adams, Gandhi, Eleanor Roosevelt, M.L. King, Mohammed Ali, Michael Moore, etc.) Your micro text will need to relate to parts of the speech based on your research, discoveries and personal correlations to the speech. You will be responsible for conceptually linking the two together. We will discuss this in greater detail.

Required Books

The Elements of Typographic Style, Robert Bringhurst, Hartley & Marks Publishers, ISBN: 0-88179-206-3 This book you may have from an earlier type course. Practical and conceptual, this book contains information on type form, history, vocabulary, type designers, and chapter eight Shaping the Page is helpful in understanding proportional systems. Readings will be assigned throughout the semester.

Typography Workbook, Timothy Samara, Rockport Publishers, 2006. ISBN: 1-59253-301-9 This book presents an abundance of information on type…through hundreds of real-life projects showing successful, wellcrafted usage of type. Readings will be assigned throughout the semester.

Making and Breaking the Grid, Timothy Samara, Rockport Publishers, 2005. ISBN: 1-59253-125-3 To effectively break the rules of grid-based design, one must first understand those rules. This book presents work by top designers and reveals their rationale and process.

Additional reading from other sources may be required throughout the semester as well as films on typography.

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Syllabus/Typography 3 Course Materials and Equipment

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Drafting equipment, various tools and materials that you’ve been using since the Foundation. Tracing Paper> Single sheets of 8.5 “ x 11” paper; 11” x 17”; (and larger as necessary) Two three-ring project/process binders with acetate front pocket. Computer, preferably a Mac. Laptops may be used in class as appropriate. Black-and-white and color output will be required throughout the course. You may use the printers in the School computer labs, off campus service providers, or provide your own equipment. > Printer Color ink jet printer, preferably with large format output capability, for roughs. Final black-and-white assignments should be output on a postscript laser printer (such as the ones in the School’s computer labs) and final color projects should be output on a higher quality color printer (such as the one in Computer Lab 216). > Software Illustrator (vector graphics), Photoshop (digital image editing), InDesign (page layout), typefaces, and web and motion graphics software as appropriate. Our School computer labs have all of these programs, as well as a type library, for use in class and during open lab hours. Learning Software at SDSU • Art 240 Digital Media Software Help • Most software programs include an online help resource, which can be accessed through the Help menu, usually located on the right-hand side of the menu bar. Ask a classmate for help. • A subscription to lynda.com is highly recommended.

Computer Lab Use

Our class will be assigned to computer lab 216. Server space will be provided with an access code that will be posted on Blackboard. Please do not share this password with students who are not enrolled in the course. Student Working Files A folder named “Student Working Files” will be available for you to store your assignments while they are in progress. Create a folder the first day of class, identify it with “your last name_your first name_ ART442” and place it in the “Student Working Files” folder. Identify all uploads the same way, last name first, first name, and then followed by the project name. Homework Drop Box A folder named “Homework Drop Box” will be available for you to upload homework and finished assignments. Assignment folders will be available in the “Homework Drop Box.” Upload your homework into these folders. Identify your projects by “your last name_your first name_assignment name” and place them in the appropriate folders in the “Homework Drop Box.” If you need to use the lab outside of class, open lab hours will be posted on the School website by the lab manager as soon as they are available. Universal Type Client A handout with instructions for accessing the type management system, Universal Type Client, is on Blackboard. A Font Set has been established for 442 Typography 3. You should see the class folder when you open Universal Type Client.


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Attendance and Participation

Attendance to all class meetings is expected, including the end of semester Graphic Design Open Studios and during Finals Week according to the University Final Exam Schedule (Thursday, Dec. 12, 1:00–3:00 pm). You are expected to come to class on time. Tardiness to class meetings is not tolerated as it disrupts the class in session and will effect your grade. Roll will be taken and attendance credited at the beginning of each class period. Important project information will be announced at that time. Roll may also be taken at the end of class. Participation You are expected to participate and advance during each two-hour-and-forty-minute session; to attend field trips (if required); and be involved in and contribute small group discussions as well as entire class critiques. Do your very best work, show enthusiasm, and continue to grow in knowledge and ability. Be prepared each class to present homework and daily in-class progress on projects underway. Maintain a process binder that documents and chronicles your progress: all preliminary phases such as exercises, creative or editorial writing, research, sketches, roughs, and prototype structures neatly organized in a white 3-ring 1-inch binder with a cover sheet slipped into the acetate pocket with your name, date, project title, course name and number as well as a sheet slipped into the spine that includes your name, project title, course name and number. Section dividers should separate the different developmental stages. To receive credit for doing the work, you must present your work during the development phases and during the final presentation. You will not receive credit for assignments and projects submitted after the due date.

Project Deadline Policy

Projects turned in after the deadline on a project due date will be marked down one full letter grade. Submit your work on time, including both daily assignments and final projects. Final projects should be hanging (unless otherwise instructed) and ready for review at the beginning of class on the due date. Have work printed out and ready to hand in during class or uploaded to the server, whichever is the case. When requested to upload files to the server, be sure they are uploaded on time as the documents will be retrieved and downloaded according to the deadline. Students may be required to sign in when handing in assignments and to sign out for their work when they pick it up. Only the student who did the work will be allowed to turn in and pick up the work.

Assessment

Feedback will be provided throughout the semester during group critiques and one-on-one interaction with the instructor. The final grade will be determined based on the body of work completed throughout the semester. Incomplete An incomplete will only be granted under the severest of circumstances. Be realistic about your work load.

Breakdown of Overall Grade 10% 20% 10% 15% 20% 25%

Participation and Attendance Expressive Type Assignment + Poster or Animation Packaging Deconstruction + portfolio spread The Alternative, 5 week + portfolio spread Logotype and Communications Package + portfolio spread Macro-Micro Speeches by U.S. Presidents/Activists; Booklet and Poser + portfolio spread

General Grading Criteria

• Concept and appropriate meaning

• Design/Typography

• Craft and execution

Specific grading criteria will vary from assignment to assignment.


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> SDSU Grading Guidelines

A Outstanding achievement, available only for the highest accomplishment. B Praiseworthy performance, definitely above average. C Average, awarded for satisfactory performance, the most common grade. D Minimally passing, less than the typical undergraduate achievement. F Failing.

AIGA Y Design Conference

Each spring AIGA San Diego sponsors an international design conference. You are encouraged to attend. Student volunteers are admitted at a reduced rate. See the AIGA San Diego website for additional information: March 22–23. http://y-conference.com/y18/

SDSU AIGA Student Group

You are encouraged to join the AIGA SDSU Student Group. AIGA is the oldest national professional organization for graphic design with chapters and student groups throughout the country. Check the AIGA San Diego Web site for upcoming events: www.aigasandiego.org. AIGA SDSU student leaders will post flyers in the graphic design classrooms announcing activities: [email protected].

Class Policies

> In-class Protocol It is inappropriate and unacceptable to study for other classes or to work on assignments for other courses during this class. > Telephones, Pagers, PDAs, iPods, iPads, iPhones, and Other Portable Communication Devices and Laptops All portable communication devices must be turned off during class or risk being temporarily confiscated. These devices disrupt your focus and interrupt activity going on in the classroom. If you need special consideration, please submit a written request. This also applies to email, instant messaging and other forms of electronic communication while working on a laptop in the classroom or while working in the computer lab during class. > Sick? Stay home! If you are ill, and especially if you are contagious, stay home and get well. If you have a fever, wait 24 hours after the fever has broken before returning to class. Email the instructor in case of absence due to illness. Remember to preface the subject line with 442. Be sure to have a classmate’s contact information in case you cannot reach the instructor. > Original Work All work must be your own unless otherwise instructed. When the work of others is used, it must be appropriately cited. An F will be earned in cases where the same assignment is submitted to fulfill the requirements of different professors teaching different courses. > Plagiarism Plagiarism is formal work publicly misrepresented as original; it is any activity wherein one person knowingly, directly, and for lucre, status, recognition, or any public gain resorts to the published or unpublished work of another in order to represent it as one’s own. Work shall be deemed plagiarism: (1) when prior work of another has been demonstrated as the accessible source; (2) when substantial or material parts of the source have been literally or evasively appropriated (substance denoting quantity; matter denoting qualitative format or style); and (3) when the work lacks sufficient or unequivocal citation so as to indicate or imply that the work was neither a copy nor an imitation. This definition comprises oral, written, and crafted pieces. In short, if one purports to present an original piece but copies ideas word for word or by paraphrase, those ideas should be duly noted.

—Alexander Lindey, Plagiarism and Originality, 1952.