Graphic Design is visually communicating with words and images. Graphic Design is a language, it is a tool. Graphic Design can be used in the art gallery for an art experience (see some of Geoff Mcfetridge’s installations) or it can be used to create an ad, make a logo, used to clarify the medicine prescription label (go to target.com/clearrx), explain the credit crisis (watch this film by Jonathan Jarvis) or to persuade someone to vote (google AIGA Get Out the Vote).
In this class we are going to use graphic design as a tool to communicate a specific message in order to reach a specific outcome.
We will use Graphic Design to create visual communication that gives people ideas.
The goal of this class is for you to gain valuable experience designing using the affordances of Time, Space, Motion and Sound, so you can understand how these powerful tools allow the designer greater control of what, when and how a viewer interacts with information.
You will need to demonstrate the following outcomes:
OVERVIEW
This course will, through a main project and three "investigations", introduce you to designing and producing effective time-based graphic design. Focus will not only be on the creation of these experiences, but on critique and discussion of contemporary motion graphics for the screen. Emphasis is placed on the creation of work that remains essentially “graphic”in its manufacture and storytelling: motion pieces that extend and examine new graphic narratives, rather than traditional filmic ones that hold continuity and being “real” as vitally important. Focus will be on symbolic communication and cinematic tropes will guide us, but not lead us.
ASSIGNMENTS
Investigation 1: StoryBoard: Working Backwards
size: big enough for us to see!
GRADING CRITERIA
Your project(s) will be critiqued and graded in relation to concept, aesthetic and technical aptitude. Included in the evaluation process for determining a grade will be:
• Concept–clear, intelligent understanding and exploration of the project
• Design–success of the communication objective(s)
• Craft–carefully executed, appropriate with an eye to detail.
• Presentation–on time and well explained in critique
• Participation–attendance, meeting deadlines and contribution to class and critiques
Grades shall be based upon the following breakdown:
• Main Project – (35 points)
• Class Participation – (30 points)
• Investigation One – (5 points)
Where that visual communication happens is constantly changing. From cave walls, to family crests, to flags, to posters, to books, to screens…each old/new way of displaying or presenting visual messages has it’s own unique opportunities and restrictions. For example, printed Graphic Design is more static: words and pictures are “stuck” on the page, the viewer can see all the “parts” at once. The designer tries to affect the viewer’s gaze using design principles (Remember foundations?) by manipulating position, scale, color and other design elements to create hierarchy. What about a book? Designing a printed book or brochure across multiple pages gives the graphic designer more pages/space and therefore more control over how/when the experience unfolds.
Motion Graphic Design affordances are similar but time and the space of the screen affords more channels. The space is kinetic, elements can move. The screen space affords sound too.
The goal of this class is for you to gain valuable experience designing using the affordances of Time, Space, Motion and Sound, so you can understand how these powerful tools allow the designer greater control of what, when and how a viewer interacts with information.
You will need to demonstrate the following outcomes:
- to be able to organize a sequence and narrative of both type and image with respect to some specific, clearly stated aesthetic and/or communicative purpose.
- to have an understanding of motion graphic design software concerns and begin to form a foundation in which they will be able to make informed decisions regarding which software is appropriate for a particular problem.
- Demonstrate aptitude in audio and visual synchronization
- Understand the importance of planning and storyboarding in time-based media
- Design a visually effective and compelling time-based experience
- Utilize appropriate delivery methods (formats and file sizes) for digital motion graphics
- Critically analyze kinetic digital compositions for technical and aesthetic purposes
OVERVIEW
This course will, through a main project and three "investigations", introduce you to designing and producing effective time-based graphic design. Focus will not only be on the creation of these experiences, but on critique and discussion of contemporary motion graphics for the screen. Emphasis is placed on the creation of work that remains essentially “graphic”in its manufacture and storytelling: motion pieces that extend and examine new graphic narratives, rather than traditional filmic ones that hold continuity and being “real” as vitally important. Focus will be on symbolic communication and cinematic tropes will guide us, but not lead us.
ASSIGNMENTS
All work will require multiple iterations in order to arrive at a final. Besides the prototypical research including information gathering and analysis....prototyping/sketching/making is also a form of visual research and all steps/stages should be save and documented. You will be asked to present all process work as pdf presentations for instructor evaluation and your own personal reflection. So save everything! All versions! And be ready to explain the work: what, how and why you did what you did.
Investigation 1: StoryBoard: Working Backwards
size: big enough for us to see!
Take apart a Motion Graphic sequence. Take screenshots and make a pdf or "Reverse Storyboard" of atleast 35 "frames". The pdf should break down the motion, transitions and overall "gist" of the sequence. Explore and breakdown the sequence and durations, motion, pacing and rhythm. Identify what is going on in the "frame" or mise-en-scene, for example: cropping, zooming in and out, fades in/out...bu also comment on What is interesting to you, cool, or ask questions, how did they do that..etc. Also bring a link to the original or a copy of it!
Investigation 2: Transition
720×480, 10 secs
Choose a word and then create a loop that will interpret the word for the viewer. Your sequence must start with one frame and finish on a frame that looks exactly like the first, but the experience of what we “see” in-between is for you to explore. you may add any elements you wish, but for the sake of limited time and for you to focus on the idea of transition and mutation…let’s stick to black and white and graphic shapes.
720×480, 10 secs
Choose a word and then create a loop that will interpret the word for the viewer. Your sequence must start with one frame and finish on a frame that looks exactly like the first, but the experience of what we “see” in-between is for you to explore. you may add any elements you wish, but for the sake of limited time and for you to focus on the idea of transition and mutation…let’s stick to black and white and graphic shapes.
Investigation 3: Montage
720×480, 20 secs
Teach us how to do something by expanding and compressing time. Choose an activity that you will show us how to do. Use stop motion to describe the event through a sequence of images that you photograph. Consider color, hierarchy, composition, shape, light and scale. The first step will be to storyboard the parts of the activity on index cards, then photograph, then create the sequence in AE using sound to enhance/or subvert meaning and add rhythm.
720×480, 20 secs
Teach us how to do something by expanding and compressing time. Choose an activity that you will show us how to do. Use stop motion to describe the event through a sequence of images that you photograph. Consider color, hierarchy, composition, shape, light and scale. The first step will be to storyboard the parts of the activity on index cards, then photograph, then create the sequence in AE using sound to enhance/or subvert meaning and add rhythm.
Main Project: Putting it All Together, Time, Space, Motion and Sound
For either of the options, you must identify a space in the Art/Design/Marvin Hall buildings to project your sequence on. The choice of the space should reflect your communication goals and create unique opportunities to have the motion graphics and architectural space to converge.
Option A: Music Video
Design an interpretation of a piece of music. Your video must be 45 secs-1 minute long. The story/interpretation will be up to you to define, but you must have a communication objective (story) clearly defined to drive your idea and concept of execution.
Option B: Title Sequence
Re-design a title sequence of a film or tv show. It can be one you love or hate, but it must be a movie that you can rent/borrow/buy because you will need access to it for the next few weeks. And there must be a reason (Raison d'être) for it's re-design. Your sequence must be 45 secs-1 minute long. The sequence will be up to you to define message-wise, based on the film you choose, your understanding of the film's theme(s) and anything you might want to learn about the filmaker's intent, but you must include the same credits(text) as the original movie and in the same order...and ALL of them.
GRADING CRITERIA
Your project(s) will be critiqued and graded in relation to concept, aesthetic and technical aptitude. Included in the evaluation process for determining a grade will be:
• Concept–clear, intelligent understanding and exploration of the project
• Design–success of the communication objective(s)
• Craft–carefully executed, appropriate with an eye to detail.
• Presentation–on time and well explained in critique
• Participation–attendance, meeting deadlines and contribution to class and critiques
Grades shall be based upon the following breakdown:
• Main Project – (35 points)
• Class Participation – (30 points)
• Investigation One – (5 points)
• Investigation Two – (10 points)
• Investigation Three – (20 points)
ATTENDANCE
Attendance is mandatory. Work (even when unfinished) must be displayed during critiques in order to receive a grade. Late work will be lowered one full letter grade for every day that work is not turned in. A student will be given a project grade of “F” for any project that is never submitted. Students are required to attend class. Please be in class on time and remain for the entire period. Please turn off your pagers and mobile phones. Attendance will be taken at the beginning of each class period. Three “late”marks will equal one absence.
A total of 1 absence will be allowed for any reason. It is your sole responsibility to discover what happened during any class you missed. If it is necessary for you to be absent from class for more than 3 days for any reason including medical condition, you should withdraw from the class. In the event of any absence, students are still responsible for obtaining all information & materials from the class period and completing all assignments on time. It is your sole responsibility to find out about any new work assigned during your absence.
Grading Scale
Excellent: A+ 98–100% / A 94–97% / A– 90–93%
Good: B+ 87–89% / B 84–86% / B- 80–83%
Average: C+ 77–79% / C 74–76 / C– 70–73%
Below Average: D+ 67–69 / D 64–66% / D– 60–63%
Failing: F 59% & below
Completing the minimum requirements outlined on an assignment sheet qualify as “C”level (or average) work. The degree and quality of effort with which a student engages in the different criteria (above or below the minimum requirements) for each assignment determines how well they do.
COURSE REMINDERS
Visual Communication Design does not happen in a vacuum. Clear verbal skills are all important in communicating your ideas to clients and design team members. For all critiques, students are expected to come prepared to present their concepts, discuss how the form of their design supports their concept, and describe how they arrived at their ideas. Providing comment to your peers is a privilege. You will benefit from both giving and receiving feedback—you do not have to “like” another’s work, but you must provide insightful commentary in a courteous manner.
Academic Conduct
Please adhere to the rules as listed in the student disruptive conduct policy found at: http://www.studenthandbook.ku.edu/codes.shtml
Disabilities
Students needing special assistance or accommodation should contact the KU Academic Achievement & Access Center office at 864-4064. They are located in room 22 in Strong Hall.
Plagiarism
Is copying someone’s work or taking somebody’s idea and trying to pass it off as yours and will result in penalties as outlined in the KU student code of rights and responsibilities.
• Investigation Three – (20 points)
ATTENDANCE
Attendance is mandatory. Work (even when unfinished) must be displayed during critiques in order to receive a grade. Late work will be lowered one full letter grade for every day that work is not turned in. A student will be given a project grade of “F” for any project that is never submitted. Students are required to attend class. Please be in class on time and remain for the entire period. Please turn off your pagers and mobile phones. Attendance will be taken at the beginning of each class period. Three “late”marks will equal one absence.
A total of 1 absence will be allowed for any reason. It is your sole responsibility to discover what happened during any class you missed. If it is necessary for you to be absent from class for more than 3 days for any reason including medical condition, you should withdraw from the class. In the event of any absence, students are still responsible for obtaining all information & materials from the class period and completing all assignments on time. It is your sole responsibility to find out about any new work assigned during your absence.
Grading Scale
Excellent: A+ 98–100% / A 94–97% / A– 90–93%
Good: B+ 87–89% / B 84–86% / B- 80–83%
Average: C+ 77–79% / C 74–76 / C– 70–73%
Below Average: D+ 67–69 / D 64–66% / D– 60–63%
Failing: F 59% & below
Completing the minimum requirements outlined on an assignment sheet qualify as “C”level (or average) work. The degree and quality of effort with which a student engages in the different criteria (above or below the minimum requirements) for each assignment determines how well they do.
COURSE REMINDERS
Visual Communication Design does not happen in a vacuum. Clear verbal skills are all important in communicating your ideas to clients and design team members. For all critiques, students are expected to come prepared to present their concepts, discuss how the form of their design supports their concept, and describe how they arrived at their ideas. Providing comment to your peers is a privilege. You will benefit from both giving and receiving feedback—you do not have to “like” another’s work, but you must provide insightful commentary in a courteous manner.
Academic Conduct
Please adhere to the rules as listed in the student disruptive conduct policy found at: http://www.studenthandbook.ku.edu/codes.shtml
Disabilities
Students needing special assistance or accommodation should contact the KU Academic Achievement & Access Center office at 864-4064. They are located in room 22 in Strong Hall.
Plagiarism
Is copying someone’s work or taking somebody’s idea and trying to pass it off as yours and will result in penalties as outlined in the KU student code of rights and responsibilities.
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