GD IV: design a business card with your logo on it. Figure out what typefaces work best with it for text and also display use. The discipline of applying your logo to such a small area can sometimes focus your attention on what needs to happen with the logo.
GD V: Do 10 "sketches" of placeholder text in your simple, skeleton grid:
• Work out the page size by creating and cutting out the exact size and holding in your hands.
• From there, do a new tracing paper grid drawing, figuring out the exact measurements for top and bottom margin, gutter, side margin [thumb space]. Place the running identifiers, page numbers.
• Getting the measurements off of your drawing, create an InDesign document with the grid created in Master Pages. Fill the text columns with placeholder text.
Next:
• From this, experiment with the font you will be using for your text, what size and leading it needs to be. Print out a minimum of ten different variations [whole spread--left and right page] to fully explore a wide range of solutions and textures that your type makes. Experiment with lots of options.
• Pair with each text idea explorations of what font, size, weight etc. your headline and subhead types will be. These should provide good contrast with your text selection. You need obvious contrast to be able to fully control the visual hierarchy.
Contrast can be:
heavier weight
variation of sans serif and serif
variation in width (condensed + regular)
etc.
Text type: never more than 12 point (but 12 point is usually too big or "horsey")
Display type: fonts designed to work best at a size OVER 12 points.
If you have the "Typographic Design" textbook from your GD I and II classes, read through it to refresh your memory on all of the above. Specifically read the sections about grids in Chapter 5.
GD VI: Follow your list and work on everything you want to show during the Capstone Mid-Term Review next Thursday.
Thursday, September 27, 2012
GD III for Tuesday, October 2
Before proceeding read the following in your "Typographic Design" textbook:
pp. 55-60
pp. 64-70
pp. 91-116
It will greatly help you think through some of the issues involved in solving your accordian book design assignment.
Due at the beginning of class:
A wholly developed accordian fold book dummy [black and white--no color yet!] created by drawing, pasting, cutting out, etc. Your design can go around corners, so try to establish a "flow" from panel to panel. Also, use a good variation in scale (small, medium, large) for both images and text. Don't repeat the same things too often or they will become predictable and therefore, less interesting.
We will have a group critique.
pp. 55-60
pp. 64-70
pp. 91-116
It will greatly help you think through some of the issues involved in solving your accordian book design assignment.
Due at the beginning of class:
A wholly developed accordian fold book dummy [black and white--no color yet!] created by drawing, pasting, cutting out, etc. Your design can go around corners, so try to establish a "flow" from panel to panel. Also, use a good variation in scale (small, medium, large) for both images and text. Don't repeat the same things too often or they will become predictable and therefore, less interesting.
We will have a group critique.
GD I for Tuesday, October 2
Before proceeding with the next part of your assignment, read the following in your "Typographic Design" textbook:
pp. 34-39
pp. 48-51
pp. 66-67
pp. 74-76
p. 177
The thoughts expressed in the book with help you think through the next stage and clarify some of the issues you should be dealing with.
Next part of the assignment:
Using your ORIGINAL SKETCH as a starting point, develop your typographic word design further. Do not abandon the work you have already done [don't vary from it significantly other than to solve problems]! You have already figured out what some of the issues are in balancing positive/negative forms in space and finding the letter identifiers in your characters while maintaining legibility. Not easy things to do!
So the rules you can now break are:
• you can adjust space between characters (they no longer have to be confined to a square)
• you can alter the baseline so it is no longer necessarily straight, but can be adjusted according to how you want the positive/negative spaces to work. This means you might stack certain letters or sets of letters.
• you can now judiciously incorporate a serifed typeface provided for you in your handout. If you have a letter that needs more visual clues to make it legible, consider this option. Serif typefaces automatically provide more visual clues to the viewer for legality because they have a variation of thick and thin weights within the letterform, and the serif can provide orientation. Do not mix in any serifed letters if you don't need to for legibility.
Due at the beginning of class;
Minimum of 10 "sketches" [these may begin to resemble collages--it is OK to cut and paste, rearrange, etc.]
You can use black sharpies on tracing paper.
You sketches should be neat enough for others to clearly see your design intentions.
As you work, run it past your friends to see if they can still read it. If not, something is wrong that you need to fix.
pp. 34-39
pp. 48-51
pp. 66-67
pp. 74-76
p. 177
The thoughts expressed in the book with help you think through the next stage and clarify some of the issues you should be dealing with.
Next part of the assignment:
Using your ORIGINAL SKETCH as a starting point, develop your typographic word design further. Do not abandon the work you have already done [don't vary from it significantly other than to solve problems]! You have already figured out what some of the issues are in balancing positive/negative forms in space and finding the letter identifiers in your characters while maintaining legibility. Not easy things to do!
So the rules you can now break are:
• you can adjust space between characters (they no longer have to be confined to a square)
• you can alter the baseline so it is no longer necessarily straight, but can be adjusted according to how you want the positive/negative spaces to work. This means you might stack certain letters or sets of letters.
• you can now judiciously incorporate a serifed typeface provided for you in your handout. If you have a letter that needs more visual clues to make it legible, consider this option. Serif typefaces automatically provide more visual clues to the viewer for legality because they have a variation of thick and thin weights within the letterform, and the serif can provide orientation. Do not mix in any serifed letters if you don't need to for legibility.
Due at the beginning of class;
Minimum of 10 "sketches" [these may begin to resemble collages--it is OK to cut and paste, rearrange, etc.]
You can use black sharpies on tracing paper.
You sketches should be neat enough for others to clearly see your design intentions.
As you work, run it past your friends to see if they can still read it. If not, something is wrong that you need to fix.
Art is Work
-Milton Glaser, from his book Art is Work.
There seems to be much confusion about what we mean when we use the word art. I have a recommendation. We eliminate the word art and replace it with work and develop the following descriptions:
1. Work that goes beyond its functional intention and moves us in deep and mysterious ways we call great work.
2. Work that is conceived and executed with elegance and rigor we call good work.
3. Work that meets its intended need honestly and without pretense we call simply work.
4. Everything else, the sad and shoddy stuff of daily life, can come under the heading of bad work.
This simple change will eliminate anxiety for thousands of people who worry about whether they are artists or not, but this is not its most significant consequence. More importantly, [describing art as work] can restore art to a central, useful activity in daily life---something for which we have been waiting for a very long time.
From an interview of Milton Glaser by book designer Chip Kidd:
There seems to be much confusion about what we mean when we use the word art. I have a recommendation. We eliminate the word art and replace it with work and develop the following descriptions:
1. Work that goes beyond its functional intention and moves us in deep and mysterious ways we call great work.
2. Work that is conceived and executed with elegance and rigor we call good work.
3. Work that meets its intended need honestly and without pretense we call simply work.
4. Everything else, the sad and shoddy stuff of daily life, can come under the heading of bad work.
This simple change will eliminate anxiety for thousands of people who worry about whether they are artists or not, but this is not its most significant consequence. More importantly, [describing art as work] can restore art to a central, useful activity in daily life---something for which we have been waiting for a very long time.
From an interview of Milton Glaser by book designer Chip Kidd:
...Glaser revealed his design process, he said he starts with a drawing done by hand, scans the image and transfers it into a computer where he modifies it electronically. “I love the computer. I hate stupid work done on the computer,” he said.
“Art is fundamentally a survival device for the species.” Glaser proclaimed art appears in every culture and helps us survive because it makes us pay attention, “Every work of art we love makes us attentive, if it doesn’t, it’s not art.”
Wednesday, September 26, 2012
GD Seniors: WORD
This is what some of your competitors in the job market are doing at Cal Arts:
http://minesf.com/resources/cca/2012/09/25/5-graphic-design-portfolios-that-work/
http://minesf.com/resources/cca/2012/09/25/5-graphic-design-portfolios-that-work/
Tuesday, September 25, 2012
GD V for Thursday, Sept. 27
Due at the beginning of class:
Minimum three tracing paper drawings of a grid analysis of an existing well-designed magazine spread.
Identify the locations of:
page numbers
running identifiers
top margins
outside margins
inside gutters
column width proportion to type size
three areas of emphasis within the layout (find the triangle like we discussed in class)
photo captions, credits
break out text (how it is handled)
examine how the white space (negative space) supports the information
Show evidence that you have begun work on YOUR OWN grid design, drawn from what you have learned from your tracing paper drawings above. Draw it out on tracing paper.
Keep in mind: does your approach feel appropriate to your topic?
Bring in your masthead designs for discussion. These should have continued to evolve towards completion!
Bring in: all photographs and text information for your first magazine article (6 pages, 3 spreads). You have had several weeks to do this research, so you should already have it at hand.
Daily grades:
For each class, you are assigned certain things you should either have with you, done as homework, or researched outside of class. I am checking each day with my iPad to see if you have fulfilled those requirements. For the most part, these grades are either all or nothing. You've either done it or not. The cumulation of your daily grades figures into the final tally of your overall class grade and your daily grades have the potential to bump up your overall average or bring it down. Pay close attention to instructions during class, on the handouts, and on the blog.
Take responsibility and initiative to make positive progress on your assignments. Do not wait for me to tell you everything. If you have questions, email me or make an appointment.
Minimum three tracing paper drawings of a grid analysis of an existing well-designed magazine spread.
Identify the locations of:
page numbers
running identifiers
top margins
outside margins
inside gutters
column width proportion to type size
three areas of emphasis within the layout (find the triangle like we discussed in class)
photo captions, credits
break out text (how it is handled)
examine how the white space (negative space) supports the information
Show evidence that you have begun work on YOUR OWN grid design, drawn from what you have learned from your tracing paper drawings above. Draw it out on tracing paper.
Keep in mind: does your approach feel appropriate to your topic?
Bring in your masthead designs for discussion. These should have continued to evolve towards completion!
Bring in: all photographs and text information for your first magazine article (6 pages, 3 spreads). You have had several weeks to do this research, so you should already have it at hand.
Daily grades:
For each class, you are assigned certain things you should either have with you, done as homework, or researched outside of class. I am checking each day with my iPad to see if you have fulfilled those requirements. For the most part, these grades are either all or nothing. You've either done it or not. The cumulation of your daily grades figures into the final tally of your overall class grade and your daily grades have the potential to bump up your overall average or bring it down. Pay close attention to instructions during class, on the handouts, and on the blog.
Take responsibility and initiative to make positive progress on your assignments. Do not wait for me to tell you everything. If you have questions, email me or make an appointment.
GD IV Branding for Thursday, Sept. 27
Bang out your logos. Do whatever it takes to make this happen. Be resourceful. Do A LOT of sketches. Run sketches past your friends while you're working. I want to see evidence that you are working through the typographic problems in a consistent, efficient manner, considering all your options. We have talked about this process at length during class. Working on tracing paper greatly speeds the process because you can make decisions more quickly and then narrow down the successful directions.
You have SO MUCH to do this semester for the rest of this project, this is not something we can afford to spend any more time on.
GD III for Thursday, Sept. 27
Bring to class:
• B & W photocopies/print outs of all the photographic images you have located during your research into your "everyday object." These can be things you have discovered from the places Gwen told you about, or photocopies out of books.
• printouts of the text/information you have located in your research
• printouts of your symbol alone
• printouts of your patterns
• photocopies of the best of your hand-drawn type solutions
Supplies:
metal ruler
triangle
pencils
kneaded eraser
11" x 14" tracing paper
white artist tape
cutting mat
scissors
glue stick
clear scotch tape
exacto knife + blades
I will bring some white, heavy card stock for you to make a full-size dummy during class. Have all your stuff!
• B & W photocopies/print outs of all the photographic images you have located during your research into your "everyday object." These can be things you have discovered from the places Gwen told you about, or photocopies out of books.
• printouts of the text/information you have located in your research
• printouts of your symbol alone
• printouts of your patterns
• photocopies of the best of your hand-drawn type solutions
Supplies:
metal ruler
triangle
pencils
kneaded eraser
11" x 14" tracing paper
white artist tape
cutting mat
scissors
glue stick
clear scotch tape
exacto knife + blades
I will bring some white, heavy card stock for you to make a full-size dummy during class. Have all your stuff!
GD I for Thursday, Sept. 27
Due at the beginning of class:
ALL of the letters in your word drawn TWO ways:
One way should be black letter in a white field (positive)
One way should be white letter in a black field (negative)
On tracing paper, in pencil, inside a 2" SQUARE box drawn using drafting tools (parallel bar or t-square, and a triangle that is 90 degrees.)
Fill in all negative spaces WHILE YOU WORK. Don't outline everything at once and then fill things in. If you work that way, you won't ultimately be making good, efficient decisions about the proportions of negative and positive space. Always work on things they way they will be viewed ultimately. No need to labor over making a perfect black, just fill in the letters so the edges are neat and the pencil is dark enough so you can see the positive/negative spaces. Spending more time on it is not necessary.
Bring to class:
pad of 11" x 14" tracing paper
triangle
metal ruler
pencils
kneaded eraser
white artists tape
clear scotch tape
glue stick
scissors
exacto knife + new blades
cutting mat
handout from class today
Remember your goals:
• each square should have as close to an equal amount of white and black as it can
• show me ONLY the identifier of each individual letter. If it can be read as a different letter, you should reconsider the design decision. Run it by your friends & see if they can tell.
Daily grades:
For each class, you are assigned certain things you should either have with you, done as homework, or researched outside of class. I am checking each day with my iPad to see if you have fulfilled those requirements. For the most part, these grades are either all or nothing. You've either done it or not. The cumulation of your daily grades figures into the final tally of your overall class grade and your daily grades have the potential to bump up your overall average, or bring it down. Pay close attention to instructions during class, on the handouts, and on the blog.
ALL of the letters in your word drawn TWO ways:
One way should be black letter in a white field (positive)
One way should be white letter in a black field (negative)
On tracing paper, in pencil, inside a 2" SQUARE box drawn using drafting tools (parallel bar or t-square, and a triangle that is 90 degrees.)
Fill in all negative spaces WHILE YOU WORK. Don't outline everything at once and then fill things in. If you work that way, you won't ultimately be making good, efficient decisions about the proportions of negative and positive space. Always work on things they way they will be viewed ultimately. No need to labor over making a perfect black, just fill in the letters so the edges are neat and the pencil is dark enough so you can see the positive/negative spaces. Spending more time on it is not necessary.
Bring to class:
pad of 11" x 14" tracing paper
triangle
metal ruler
pencils
kneaded eraser
white artists tape
clear scotch tape
glue stick
scissors
exacto knife + new blades
cutting mat
handout from class today
Remember your goals:
• each square should have as close to an equal amount of white and black as it can
• show me ONLY the identifier of each individual letter. If it can be read as a different letter, you should reconsider the design decision. Run it by your friends & see if they can tell.
Daily grades:
For each class, you are assigned certain things you should either have with you, done as homework, or researched outside of class. I am checking each day with my iPad to see if you have fulfilled those requirements. For the most part, these grades are either all or nothing. You've either done it or not. The cumulation of your daily grades figures into the final tally of your overall class grade and your daily grades have the potential to bump up your overall average, or bring it down. Pay close attention to instructions during class, on the handouts, and on the blog.
Capstone I and II: Mid-Term Review date
The Mid-Term Review for Capstone I and II will be held on Thursday, October 4. You will be presenting ALL the work you have done up until now.
All work must be presented in as professional a manner as possible. This means good, clean print-outs trimmed down and folded if need be. Make the work look accurate as you intend it to be seen. This way, the Committee can give you the best feedback without wasting time.
Each student will be given 30 minutes of review time by the Committee.
Capstone I: all work you are refurbishing from your portfolio + your magazine work. Also, concrete examples of any new work you are planning on including. Also due: resume and personal business card.
Capstone II: ALL work you are intending to include in the Senior Exit Show. Even if it is not done (we don't expect it to be) you must show concrete evidence of the work up until now. Also due: resume and personal business card.
THE FARTHER ALONG YOUR WORK IS, THE MORE HELPFUL THE SUGGESTIONS OF THE CAPSTONE COMMITTEE WILL BE. Don't waste this opportunity for your ultimate best success!!!
All work must be presented in as professional a manner as possible. This means good, clean print-outs trimmed down and folded if need be. Make the work look accurate as you intend it to be seen. This way, the Committee can give you the best feedback without wasting time.
Each student will be given 30 minutes of review time by the Committee.
Capstone I: all work you are refurbishing from your portfolio + your magazine work. Also, concrete examples of any new work you are planning on including. Also due: resume and personal business card.
Capstone II: ALL work you are intending to include in the Senior Exit Show. Even if it is not done (we don't expect it to be) you must show concrete evidence of the work up until now. Also due: resume and personal business card.
THE FARTHER ALONG YOUR WORK IS, THE MORE HELPFUL THE SUGGESTIONS OF THE CAPSTONE COMMITTEE WILL BE. Don't waste this opportunity for your ultimate best success!!!
Monday, September 24, 2012
GD seniors: InDesign CS 6 webinar Tuesday, Sept. 25
I have found out about a free webinar that goes over the new features of Adobe InDesignCS 6 (which is what is in the lab right now.) It goes from 2:00-3:00pm so I will have it set up in the 207 Lab for beginning promptly at 2:00.
Please come directly to the lab at the beginning of class.
Please come directly to the lab at the beginning of class.
Sunday, September 23, 2012
REMINDER!!! GD III, IV, V and VI
Your thank-you notes to Will Hill are due Tuesday. [reference blog posting from Sept. 19] They must be on a fold-over card with an envelope. You're a designer, design it yourself. I will put them all in an envelope and mail them to the UK together.
Saturday, September 22, 2012
GD VI for Tuesday, Sept. 25
Due:
Dustin:
drawing of wolf for your third book cover
minimum of 10 explorations of type treatments for titles of book cover
Jaime:
minimum of 20 sketch ideas (in pencil on tracing paper) for your magazine masthead. All type, no decoration at this point. I also want you to sit in on our discussion of magazine grids with the GD V class. Also continue working on your book covers. I want to see concrete progress on a new direction based on the comments given you by Cassie and myself.
Ashley:
I would like to go over the things that you showed Cassie last week so I can catch up to where you are. You will be the best judge of what work you need to work on to progress in developing your overall portfolio work.
Amanda:
Do research so we can discuss your strategy for developing the series of 3 books we have talked about. I have images I want to show you (meant to do that Thursday, but it didn't happen.) I also have some scratch board for you to try and I just put my blender pen in my bag so we can go over that as well.....
Dustin:
drawing of wolf for your third book cover
minimum of 10 explorations of type treatments for titles of book cover
Jaime:
minimum of 20 sketch ideas (in pencil on tracing paper) for your magazine masthead. All type, no decoration at this point. I also want you to sit in on our discussion of magazine grids with the GD V class. Also continue working on your book covers. I want to see concrete progress on a new direction based on the comments given you by Cassie and myself.
Ashley:
I would like to go over the things that you showed Cassie last week so I can catch up to where you are. You will be the best judge of what work you need to work on to progress in developing your overall portfolio work.
Amanda:
Do research so we can discuss your strategy for developing the series of 3 books we have talked about. I have images I want to show you (meant to do that Thursday, but it didn't happen.) I also have some scratch board for you to try and I just put my blender pen in my bag so we can go over that as well.....
GD V for Tuesday, Sept. 25
During class we will be talking about scanning and developing your hand-made type into digital files that you can use. We will also be talking about doing a grid analysis of an existing magazine, so bring in your good magazine examples. We will choose several spreads, cut them out of the magazine and do drawings over them using tracing paper & pencil.
Bring to class:
pad of tracing paper
pencil
kneaded eraser
triangle
white artist tape
examples of good magazine design
Bring to class:
pad of tracing paper
pencil
kneaded eraser
triangle
white artist tape
examples of good magazine design
GD IV Branding for Tuesday, Sept. 25
You should be quickly narrowing down your customized logo work for the title of your business. Next you will be designing a business card for your business using that logo, so start thinking about that.
I want to see a minimum of 10 logo solutions from each one of you. The solution must be customized type or hand-created. What you should show me will be sketches on tracing paper or a combination of sketches and hand-created type. You solution can be based on a typeface, but you must do something to it to make it unique.
I want to see a minimum of 10 logo solutions from each one of you. The solution must be customized type or hand-created. What you should show me will be sketches on tracing paper or a combination of sketches and hand-created type. You solution can be based on a typeface, but you must do something to it to make it unique.
GD III for Tuesday, Sept. 25
We will be doing some more experimental type work during class so bring all your stuff again. (Sorry we didn't get to that on Thursday, but I think having you guys at the critique was good...)
We will also plunge into the project that you have been making all these things for....
You have:
• a good quantity of research into information and useable images related to your " everyday object"
• a b & w symbol of an image of your object
• a series of patterns developed from your symbol
• hand-created or hand-altered type of the name of your object and some of its qualities
Will all of the above, you will be tasked with designing an accordian-fold book. We will discuss in class.
We will also plunge into the project that you have been making all these things for....
You have:
• a good quantity of research into information and useable images related to your " everyday object"
• a b & w symbol of an image of your object
• a series of patterns developed from your symbol
• hand-created or hand-altered type of the name of your object and some of its qualities
Will all of the above, you will be tasked with designing an accordian-fold book. We will discuss in class.
GD I for Tuesday, Sept. 25
Bring to class:
Your "Typographic Design" textbook
pad of 11" x 14" tracing paper
pencils
kneaded eraser
white artist tape
Your "Typographic Design" textbook
pad of 11" x 14" tracing paper
pencils
kneaded eraser
white artist tape
Wednesday, September 19, 2012
Junior Review & BFA application due dates
Junior Review due: Tuesday October 2
BFA Applications due: 5:00pm October 1
Awesome poster Hester!!!!!
BFA Applications due: 5:00pm October 1
Awesome poster Hester!!!!!
GD IV, V and VI: Thank-you notes for Will Hill
Due at the beginning of class on Tuesday, Sept. 25:
Thank-you note to Will Hill. You're a designer, design it yourself. Must be a fold-over card in an envelope. Since he is in the UK, I will put them all in an envelope and mail them together.
It is important that you practice good social etiquette in all your professional relationships. Writing thank-you notes to people who have helped you in any way is an expected and acceptable practice. Get in the habit of doing this! Will was very generous with his time and sharing information, so we need to express our gratitude.
No exceptions.
Thank-you note to Will Hill. You're a designer, design it yourself. Must be a fold-over card in an envelope. Since he is in the UK, I will put them all in an envelope and mail them together.
It is important that you practice good social etiquette in all your professional relationships. Writing thank-you notes to people who have helped you in any way is an expected and acceptable practice. Get in the habit of doing this! Will was very generous with his time and sharing information, so we need to express our gratitude.
No exceptions.
Tuesday, September 18, 2012
GD IV, V and VI for Thursday, Sept. 20
EVERYBODY:
We will be having a hand-rendered type workshop during normal class time [2-4:45]. Bring in a variety of different drawing materials and papers. This means just about anything such as charcoal, black ink, sharpies of different sizes, different things to write with like sticks (yes, I said sticks), brushes (both pointed and chisel edge), etc. etc. Bring in smooth and rough papers. Be resourceful.
ALSO:
GD IV: Branding
minimum of 10 b & w sketches for your customized restaurant logo
yes I will be counting.
GD V: Magazine project
Bring in your examples of good magazines that we talked about a couple of weeks ago.
Also bring in tracing paper, triangle, white artist tape, pencil, kneaded eraser so we can go over the process for analyzing an existing grid.
GD VI:
Dustin: ideas developed for all 3 book covers, hand sketched type ideas for each book cover on tracing paper [minimum 3 each title], create your backgrounds by hand (not found on computer.) In general, your work process needs to move away from the computer.
Jaime: I would like to see you join the GD V class in developing your magazine masthead using the same process they are. Just pretend like you're in that class for right now. Print out your magazine title large on a single horizontal piece of paper (one word per page) in a minimum of 10 different typefaces. Spread them out and look at them. As soon as we establish the right "feel" I want you to draw out some ideas for customizing the type. Ask Casey, Kaley, Leah or Jessica for more information.
Ashley: developed concepts for all 3 book covers sketched out onto tracing paper, ideas for customized type treatment for each title sketched out on tracing paper in pencil.
Amanda: As we talked about, I think it would be great for you to develop three hand-bound "artists books" on a topic such as a poet. Think about that some more and send me an email or we can talk in more detail during class.
After our regular class period:
Cassie would like to review your work so far to get to know you and to offer her perspectives. Bring in all the work you showed me at the beginning of the semester + everything you've done up until now. We will have a critique starting around 5:15-5:30 and will overlap the GD III class. They will be invited to sit it on the critique.
We will be having a hand-rendered type workshop during normal class time [2-4:45]. Bring in a variety of different drawing materials and papers. This means just about anything such as charcoal, black ink, sharpies of different sizes, different things to write with like sticks (yes, I said sticks), brushes (both pointed and chisel edge), etc. etc. Bring in smooth and rough papers. Be resourceful.
ALSO:
GD IV: Branding
minimum of 10 b & w sketches for your customized restaurant logo
yes I will be counting.
GD V: Magazine project
Bring in your examples of good magazines that we talked about a couple of weeks ago.
Also bring in tracing paper, triangle, white artist tape, pencil, kneaded eraser so we can go over the process for analyzing an existing grid.
GD VI:
Dustin: ideas developed for all 3 book covers, hand sketched type ideas for each book cover on tracing paper [minimum 3 each title], create your backgrounds by hand (not found on computer.) In general, your work process needs to move away from the computer.
Jaime: I would like to see you join the GD V class in developing your magazine masthead using the same process they are. Just pretend like you're in that class for right now. Print out your magazine title large on a single horizontal piece of paper (one word per page) in a minimum of 10 different typefaces. Spread them out and look at them. As soon as we establish the right "feel" I want you to draw out some ideas for customizing the type. Ask Casey, Kaley, Leah or Jessica for more information.
Ashley: developed concepts for all 3 book covers sketched out onto tracing paper, ideas for customized type treatment for each title sketched out on tracing paper in pencil.
Amanda: As we talked about, I think it would be great for you to develop three hand-bound "artists books" on a topic such as a poet. Think about that some more and send me an email or we can talk in more detail during class.
After our regular class period:
Cassie would like to review your work so far to get to know you and to offer her perspectives. Bring in all the work you showed me at the beginning of the semester + everything you've done up until now. We will have a critique starting around 5:15-5:30 and will overlap the GD III class. They will be invited to sit it on the critique.
GD III for Thursday, Sept. 20
Due at the beginning of class:
1.) minimum of 20 hand-created type explorations of words related to your object
2.) minimum of 5 hand-rendered drawings on tracing paper in pencil or black sharpie based on the type experiments in #1 above. Some of these drawings might be inspired by the computer print-outs we did in the lab yesterday. We will cover more about hand-altering type in the next couple of classes....
These are minimum requirements. More is ALWAYS better. And yes, I will be counting.
Just like with computer type:
NO outlined type
NO vertically stacked type
NO stair-stepping
I am looking to see that you have explored a number of different techniques, materials and substrates (i.e.: what it is ON--a variety of papers.) Try a number of different ways of interpreting your words.
HINT: This should not be a random process. The materials, techniques and substrates you use should contribute to and complement the meaning of the word. For example: the word "fuzzy" should have some random texture to it [unless you were going for irony, in which case you would make it look like chrome.]
DUE NEXT TUESDAY: Thank-you note for Will Hill. You're a designer, design it yourself. Must be a fold-over card in an envelope. In the interest of informing yourself, I suggest you look Will Hill up and find out more about him. It is important to use good etiquette in all professional contacts, and thank-you notes are very well received.
1.) minimum of 20 hand-created type explorations of words related to your object
2.) minimum of 5 hand-rendered drawings on tracing paper in pencil or black sharpie based on the type experiments in #1 above. Some of these drawings might be inspired by the computer print-outs we did in the lab yesterday. We will cover more about hand-altering type in the next couple of classes....
These are minimum requirements. More is ALWAYS better. And yes, I will be counting.
Just like with computer type:
NO outlined type
NO vertically stacked type
NO stair-stepping
I am looking to see that you have explored a number of different techniques, materials and substrates (i.e.: what it is ON--a variety of papers.) Try a number of different ways of interpreting your words.
HINT: This should not be a random process. The materials, techniques and substrates you use should contribute to and complement the meaning of the word. For example: the word "fuzzy" should have some random texture to it [unless you were going for irony, in which case you would make it look like chrome.]
DUE NEXT TUESDAY: Thank-you note for Will Hill. You're a designer, design it yourself. Must be a fold-over card in an envelope. In the interest of informing yourself, I suggest you look Will Hill up and find out more about him. It is important to use good etiquette in all professional contacts, and thank-you notes are very well received.
GD I for Thursday, Sept. 20
Weather permitting we will be creating our letters on the sidewalk in front of the Humanities building during class. Dress accordingly. If it is sunny, you might want to bring a hat and sunglasses.
Bring your print out from the lab today {with the grid over the letters.}
Bring your print out from the lab today {with the grid over the letters.}
Monday, September 17, 2012
GD I Tumblr addresses....New ones added 9/19
These are the addresses that have been sent to me so far:
Joey: http://mo-joey.tumblr.com
Kiara: http://vcruzzing.tumblr.com
Elouise: http://ellabella0515.tumblr.com
Kayden: http://kaydenheartsgothicfont.tumblr.com/
Chelsea: http://cmhgraphicdesigni.tumblr.com/
Brittany: http://brittanynboyer92.tumblr.com/
Sarah: http://stgraphicdesign.tumblr.com/
Ashley: http://www.tumblr.com/blog/atindallgraphicdesign
If you have NOT sent your address, please do so right away!
NEW:
Tatiana: http://0ops-typo.tumblr.com
Justin: http://jdunbar08.tumblr.com/
Events Calendar coming up.....
Required Photography workshop:
"How to Photograph Your Own Work"
Friday, Sept. 21 at 1:00pm, upstairs in Room 318
Required of ALL GD IV, V and VI students
Capstone I and II mid-term review:
Thursday, October 4 or 11, all afternoon
Guest Critiquer from the professional design community in Atlanta + Graphic Design Capstone Committee (TBA)
all graphic design students invited to observe
Tentative Field Trip to Atlanta:
Friday, October 12: all day
all graphic design students
Visiting Designers Jeff Pulaski and Mervi Pakaste:
November 8: all day
There will be a show of their letterpress work in the Bobick Gallery, an artists talk, and a workshop in the letterpress studio on Thursday, November 8.
all graphic design students
Capstone I and II final review:
Thursday, November 29, all afternoon
all graphic design students invited to observe
Repeat of Photography workshop:
"How to Photograph Your Own Work"
Friday, November 30 at 1:00pm, upstairs in Room 318
REQUIRED Photography workshop on Friday, Sept. 21 at 1:00pm
Mark Schoon is conducting a "How to Photograph Your Own Work" workshop this coming Friday, Sept. 21 at 1:00pm upstairs in Room 318.
THIS IS REQUIRED OF ALL GD IV, V AND VI STUDENTS.
NO EXCEPTIONS.
Highly recommended for ALL GD students.
Bring some of your own work and a camera to take photos during the workshop...
THIS IS REQUIRED OF ALL GD IV, V AND VI STUDENTS.
NO EXCEPTIONS.
Highly recommended for ALL GD students.
Bring some of your own work and a camera to take photos during the workshop...
Capstone I and II: Midterm and Final Reviews
Put on your calendars now!
Capstone I and II students must show their work to the Graphic Design Capstone Committee in a formal presentation at mid-term and at the end of the semester.
The Mid-term Review is tentatively scheduled for Thursday, October 4 or 11, depending on several factors such as the schedules of the faculty members on the Committee. CV and personal branding due on that date.
The Final Review is tentatively scheduled for Thursday, November 29.
The times TBA, but will most likely be during normal class hours.
Capstone I and II students must show their work to the Graphic Design Capstone Committee in a formal presentation at mid-term and at the end of the semester.
The Mid-term Review is tentatively scheduled for Thursday, October 4 or 11, depending on several factors such as the schedules of the faculty members on the Committee. CV and personal branding due on that date.
The Final Review is tentatively scheduled for Thursday, November 29.
The times TBA, but will most likely be during normal class hours.
Thursday, September 13, 2012
GD I class today CANCELLED
Because some things that have come up with our visiting artist Will Hill in Atlanta today, GD I class will be CANCELLED today. Of course, all GD I students are invited to join us on the field trip to Georgia State today! He is AMAZING!
All homework is due for Tuesday, Sept. 18.
All homework is due for Tuesday, Sept. 18.
Wednesday, September 12, 2012
GD V: Magazine projects for Tues., Sept. 18
Due at your appointment with me:
Minimum of 20 customized b & w type drawings of ideas based on the typefaces we chose during class yesterday. You might combine ideas from more than one typeface, but remember to always bring it back to what is most appropriate for your magazine topic.
These ideas should be drawn out/traced onto tracing paper in pencil. They don't have to be very carefully rendered, as long as I can understand the idea/concept that your are pursuing.
Good work process for fastest, best quality work:
• when you sit down to work it is smart to establish an efficient working process that makes best use of capturing your ideas as quickly as you can. Use a nice broad table that is cleared off and have lots of tracing paper and other supplies on hand so you don't have to break your concentration once you get going.
• Set aside a specific amount of time (at least a half an hour at a time, but more is optimal--an hour or two is better--- to get into the "zone") where you won't be interrupted.
• Turn on some good music and go for it.
• I know this might be hard for you to wrap your mind around, but turning off your cell and not texting would be an excellent idea as well.
• Studies show that the human mind actually CANNOT multi-task, but merely shifts from one task to another. When you shift your focus during the creative process it automatically dissipates. When you set up an environment where your ideas can build on one another, the creative process feeds itself.
• Trust the process, and give it respect. If this (design) is going to become your life's work, it deserves the best you can give and your full attention.
Ongoing: continue to research/gather articles and images!!!
Minimum of 20 customized b & w type drawings of ideas based on the typefaces we chose during class yesterday. You might combine ideas from more than one typeface, but remember to always bring it back to what is most appropriate for your magazine topic.
These ideas should be drawn out/traced onto tracing paper in pencil. They don't have to be very carefully rendered, as long as I can understand the idea/concept that your are pursuing.
Good work process for fastest, best quality work:
• when you sit down to work it is smart to establish an efficient working process that makes best use of capturing your ideas as quickly as you can. Use a nice broad table that is cleared off and have lots of tracing paper and other supplies on hand so you don't have to break your concentration once you get going.
• Set aside a specific amount of time (at least a half an hour at a time, but more is optimal--an hour or two is better--- to get into the "zone") where you won't be interrupted.
• Turn on some good music and go for it.
• I know this might be hard for you to wrap your mind around, but turning off your cell and not texting would be an excellent idea as well.
• Studies show that the human mind actually CANNOT multi-task, but merely shifts from one task to another. When you shift your focus during the creative process it automatically dissipates. When you set up an environment where your ideas can build on one another, the creative process feeds itself.
• Trust the process, and give it respect. If this (design) is going to become your life's work, it deserves the best you can give and your full attention.
Ongoing: continue to research/gather articles and images!!!
GD IV Branding for Tuesday, Sept. 18
Due for review during your "appointment" with me Tuesday:
• we need to immediately develop a logo of your restaurant's name with either handdrawn or customized type. Due: minimum of 20 b & w type variations exploring a variety of approaches. Do one per page and print out on 8.5" x 11" in the lab. Bring to class and we will review them.
• we need to immediately develop a logo of your restaurant's name with either handdrawn or customized type. Due: minimum of 20 b & w type variations exploring a variety of approaches. Do one per page and print out on 8.5" x 11" in the lab. Bring to class and we will review them.
GD III for Tuesday, Sept. 18
Due at the beginning of class:
Minimum of 10 explorations of patterning in black and white using your own symbol. These should be printed out on 8.5" x 11" paper. Make the patterns approximately 7" x 7" each. And yes, I will be counting.
Explore patterns that:
• are mathematically regular, like the ones we did with your handout in class yesterday (these have their place, but can also be a little boring)
• develop more organically. This means making two or more of your symbols fit together like puzzle pieces and then replicate them by Grouping before copy/pasting.
• explore variations in scale
Also, print out a large version of your symbol (around 7" x 7") all by itself on a single piece of paper so we can check for "lumpies."
Be prepared to tack all this up on a board so we can review and discuss as a group.
You were all great yesterday bringing in your supplies for a hand-drawn type workshop. We will be doing that on Tuesday after we critique, so be sure you still have your supplies around...
Inspiration from yesterday:
Marian Bantjes
www.bantjes.com
Minimum of 10 explorations of patterning in black and white using your own symbol. These should be printed out on 8.5" x 11" paper. Make the patterns approximately 7" x 7" each. And yes, I will be counting.
Explore patterns that:
• are mathematically regular, like the ones we did with your handout in class yesterday (these have their place, but can also be a little boring)
• develop more organically. This means making two or more of your symbols fit together like puzzle pieces and then replicate them by Grouping before copy/pasting.
• explore variations in scale
Also, print out a large version of your symbol (around 7" x 7") all by itself on a single piece of paper so we can check for "lumpies."
Be prepared to tack all this up on a board so we can review and discuss as a group.
You were all great yesterday bringing in your supplies for a hand-drawn type workshop. We will be doing that on Tuesday after we critique, so be sure you still have your supplies around...
Inspiration from yesterday:
Marian Bantjes
www.bantjes.com
GD I for Thursday, Sept. 13
I'm very excited about your work so far on our "guerrilla type" project! It has endless possibilities. It would have been nice to have gotten started yesterday outdoors, but I think it is best to spend some time thinking about how this will look. It will be a much better result if we take it one step at a time.
Due at the beginning of class on Thursday:
10 different ideas for the arrangement of type for our first slogan:
Imagination is power.
You may only use typefaces that are members of the five basic type classifications, and that are in your textbook. Please note: just because a font is in the textbook does not mean it is in our font library.
Why do I ask you to limit your font choices? So you will address issues of legibility, design and positive/negative relationships with classic fonts that allow YOU to solve the design problems, rather than choosing what is called a "vanity font" that has unintended or unexpected connotations (i.e.: too much personality on their own.)
The 10 versions should be done on a computer and printed out on 8.5" x 11" paper in black and white. Experiment with all upper case, all lower case, and any combination of the two. Think of how the meaning changes with different typefaces and different ways of creating emphasis. We will look at all of your solutions as a group and choose the best version....and yes, I will be counting.
This is challenging because there is a limited amount of design choices with only three words that are small, medium and large, but I know you're up to it. Use your imagination. (It is power after all....)
Things to avoid:
• stairstepping type
• vertically stacking type
• type that is on an angle (keep it either vertical or horizontal at 90 or 180 degrees.)
• mixing more than two typefaces
Due at the beginning of class on Thursday:
10 different ideas for the arrangement of type for our first slogan:
Imagination is power.
You may only use typefaces that are members of the five basic type classifications, and that are in your textbook. Please note: just because a font is in the textbook does not mean it is in our font library.
Why do I ask you to limit your font choices? So you will address issues of legibility, design and positive/negative relationships with classic fonts that allow YOU to solve the design problems, rather than choosing what is called a "vanity font" that has unintended or unexpected connotations (i.e.: too much personality on their own.)
The 10 versions should be done on a computer and printed out on 8.5" x 11" paper in black and white. Experiment with all upper case, all lower case, and any combination of the two. Think of how the meaning changes with different typefaces and different ways of creating emphasis. We will look at all of your solutions as a group and choose the best version....and yes, I will be counting.
This is challenging because there is a limited amount of design choices with only three words that are small, medium and large, but I know you're up to it. Use your imagination. (It is power after all....)
Things to avoid:
• stairstepping type
• vertically stacking type
• type that is on an angle (keep it either vertical or horizontal at 90 or 180 degrees.)
• mixing more than two typefaces
Field Trip: cost of parking
I have just been informed that the parking at Georgia State will be $7.00 rather than the $4.50 I was lead to believe.....
:(
:(
Directions to Georgia State: Field Trip 9/13
will hill lecture and critique at Georgia State
This means you need to leave Carrollton no later than 2:00pm.
The lecture will follow the critique at 6:30.
• Merge onto Interstate 20 E
• Take exit 56A for McDaniel St toward Whitehall St/US-19/US-29
• Turn left onto McDaniel St SW
• Take the 1st right onto Whitehall St SW
• Continue onto Peachtree St SW
• Turn right onto Trinity Ave SW
• Turn left onto Central Ave SW
Total: 51.6 mi - about 1 hour 5 mins
• When you get to the gate, tell the attendant you are there for the Will Hill lecture in the Graphic Design department. Parking will cost $7.00
• Get on elevator in the Deck and go to Level 3.
• Turn right off the elevator and proceed out to the street (Central Avenue)
• Once you’re facing the street, turn right.
• Go down to the next block and cross the street [stay on the same side of the street.] Once you cross the street is becomes Peachtree Center Avenue.
• The entrance to the building you are looking for will be the last building on the next block [between Decatur and Gilmer) about half-way down on your right.
It is the Arts and Humanities Building, the corner of Peachtree Center Avenue and Gilmer St.
• Go through the double glass doors into the lobby.
• The elevator is on your right. Take it up to the 4th Floor.
• Off the elevator, turn right, Room number 468 is straight ahead at the end of the hall.
Wrecking Bar Brewpub
292 Moreland Avenue NE
Atlanta, GA 30307
(404) 221-2600
www.wreckingbarbrewpub.com/
It is about 10 minutes from Georgia State in Little Five Points.
[BTW. this number expires after Thursday...... :)
Monday, September 10, 2012
GD III students: field trip Thursday
ALL GD III students:
Since you will need to be leaving Carrollton by 2:00pm on Thursday to get to Georgia State by 4:00 for Will Hill's critique, some of you may have conflicts with other classes. Please send me an email at: jhannaford@comcast.net as soon as possible if this is the case. Include your teacher's name, email address, and the name of your class so I can send that teacher an email asking that you be excused.
For those in Crean's painting class at 2:00 (you know who you are), I have already sent an email to Eilis asking her to excuse you.
Please note that I can only request another teacher excuse you. If they choose not to, that is entirely up to their discretion.
Since you will need to be leaving Carrollton by 2:00pm on Thursday to get to Georgia State by 4:00 for Will Hill's critique, some of you may have conflicts with other classes. Please send me an email at: jhannaford@comcast.net as soon as possible if this is the case. Include your teacher's name, email address, and the name of your class so I can send that teacher an email asking that you be excused.
For those in Crean's painting class at 2:00 (you know who you are), I have already sent an email to Eilis asking her to excuse you.
Please note that I can only request another teacher excuse you. If they choose not to, that is entirely up to their discretion.
Update on field trip Thursday....
I stated the time of the critique/lecture incorrectly last week.
Will Hill's informal critique will begin at Georgia State at 4:00pm on Thursday, Sept. 13.
This means you MUST leave Carrollton no later than 2:00pm. I will be posting directions and giving out direction handouts on Tuesday. Georgia State is a bit hard to navigate, as are most college campuses, and your GPS won't help you.
Everybody must bring two pieces of work to the critique. This could be work that you consider almost complete, something you have done outside of classes, or something you are struggling with. Remember, the purpose of a critique is to help you problem-solve, not to call you out. Approach it with an open, inquiring mind.
The lecture will be at 6:30pm. We will go out to dinner afterwards at the Wrecking Bar. More info in class tomorrow...
Be planning your car-pooling arrangements!
Will Hill's informal critique will begin at Georgia State at 4:00pm on Thursday, Sept. 13.
This means you MUST leave Carrollton no later than 2:00pm. I will be posting directions and giving out direction handouts on Tuesday. Georgia State is a bit hard to navigate, as are most college campuses, and your GPS won't help you.
Everybody must bring two pieces of work to the critique. This could be work that you consider almost complete, something you have done outside of classes, or something you are struggling with. Remember, the purpose of a critique is to help you problem-solve, not to call you out. Approach it with an open, inquiring mind.
The lecture will be at 6:30pm. We will go out to dinner afterwards at the Wrecking Bar. More info in class tomorrow...
Be planning your car-pooling arrangements!
Saturday, September 8, 2012
GD IV, V, and VI for the rest of the semester
Well, this has been a relatively strange beginning of the semester with all the "interferences" we've had during our class time such as the new building opening, Capstone meeting, my artist talk, the library visit, and now upcoming next week our field trip on Thursday to Georgia State and the Will Hill lecture. Its just been a combination of coincidences beyond anyone's control that have meant we haven't had as much quality class time as I would have liked. The "work day" on Wednesday was only a moderate success as only three of you chose to take advantage of it.
So thinking towards the future on how to handle the many different things going on during this class period for the rest of the semester, I would like to propose the following beginning the week of Sept. 17 and continuing until the end:
• Every Tuesday, each one of you has a specific timed appointment with me to go over what you are working on. Since there are 9 of you, that means these appointments would be 20 minutes each. I will have a sign-up sheet this coming Tuesday and you can choose a time slot that suits you that you will keep the rest of the semester.
• Every Thursday will be group critique day where you are required to bring print-outs or concrete examples of what you are working on for group discussion.
We can talk about this on Tuesday, but this seems to be a good solution to me...
So thinking towards the future on how to handle the many different things going on during this class period for the rest of the semester, I would like to propose the following beginning the week of Sept. 17 and continuing until the end:
• Every Tuesday, each one of you has a specific timed appointment with me to go over what you are working on. Since there are 9 of you, that means these appointments would be 20 minutes each. I will have a sign-up sheet this coming Tuesday and you can choose a time slot that suits you that you will keep the rest of the semester.
• Every Thursday will be group critique day where you are required to bring print-outs or concrete examples of what you are working on for group discussion.
We can talk about this on Tuesday, but this seems to be a good solution to me...
GD V Magazine Project
ONGOING:
Be researching information and locating images that you can use for articles in your magazine. As you can probably tell, it can take some time to find good quality information and images. Don't wait to begin this process! If you have good quality, interesting information and good images, your design work will be far easier and faster.
Reference: the previous posting on this blog about finding good images provided for us by Gwen Davidson of the Visual Resources Library of the Department of Art.
Be researching information and locating images that you can use for articles in your magazine. As you can probably tell, it can take some time to find good quality information and images. Don't wait to begin this process! If you have good quality, interesting information and good images, your design work will be far easier and faster.
Reference: the previous posting on this blog about finding good images provided for us by Gwen Davidson of the Visual Resources Library of the Department of Art.
GD III for Tuesday, Sept. 11
OMG, please forgive the delay in this posting. I did it in my mind, but just realized, not in reality....I hate when that happens!
Due at the beginning of class on Tuesday:
COMPLETED Illustrator rendering of your object. Be sure you have gotten rid of the "lumpies." The best results are gotten with the LEAST number of anchor points.
Ongoing: continue research into information and images on your everyday object.
As I mentioned to you, our ultimate goal is for you to design an accordion-fold book about your object. What we are doing now is methodically developing visual elements that you will draw from in developing that design.
Elements:
• high contrast symbol of object
• patterns using symbols
• hand-rendered/experimental type
• research into information on the history of 5-7 "stages" of the development of your everyday object
• gathering of TONS of good quality, useable images that fit into the above 5-7 stages categories (remember Gwen came to class to talk about researching images? and that there was a handout? and that it is also posted on this blog?)
During class on Tuesday, we will work on developing a number of different patterns with your symbols. This will become "wallpaper" to use in various instances in your book.
BTW: this project came about with the idea of incorporating a number of different suggestions you gave me on the second day of class about things you wanted to cover in projects this semester.....
Due at the beginning of class on Tuesday:
COMPLETED Illustrator rendering of your object. Be sure you have gotten rid of the "lumpies." The best results are gotten with the LEAST number of anchor points.
Ongoing: continue research into information and images on your everyday object.
As I mentioned to you, our ultimate goal is for you to design an accordion-fold book about your object. What we are doing now is methodically developing visual elements that you will draw from in developing that design.
Elements:
• high contrast symbol of object
• patterns using symbols
• hand-rendered/experimental type
• research into information on the history of 5-7 "stages" of the development of your everyday object
• gathering of TONS of good quality, useable images that fit into the above 5-7 stages categories (remember Gwen came to class to talk about researching images? and that there was a handout? and that it is also posted on this blog?)
During class on Tuesday, we will work on developing a number of different patterns with your symbols. This will become "wallpaper" to use in various instances in your book.
BTW: this project came about with the idea of incorporating a number of different suggestions you gave me on the second day of class about things you wanted to cover in projects this semester.....
SENIORS! Great opportunity!!!
This coming Wednesday, Sept. 12, AIGA Atlanta is hosting a lunch-time event titled "Creative Team of the Future." If you can swing it, this looks like a great opportunity to mix with professionals and be involved in a discussion about the graphic design profession and how to prepare yourself for the future.
THERE IS NO BETTER NETWORKING TOOL for finding jobs and internships than AIGA ATLANTA. It pays to get involved. Students can join as a "Contributor" for $50.
To register for this event go to:
http://atlanta.aiga.org/event/creative-team-of-the-future/
This is the blurb off the AIGA Atlanta website:
THERE IS NO BETTER NETWORKING TOOL for finding jobs and internships than AIGA ATLANTA. It pays to get involved. Students can join as a "Contributor" for $50.
To register for this event go to:
http://atlanta.aiga.org/event/creative-team-of-the-future/
This is the blurb off the AIGA Atlanta website:
Creative Team of the Future
As quickly as technology evolves, so are the responsibilities of creative professionals. What does it take to survive – and thrive – in the creative industry 5, 10 and 20 years from now?
In this presentation, you’ll learn:
- The skills and traits today’s employers seek when hiring creative talent
- A look into the future ad agency/in-house design department
- Action steps you can take to improve your marketability
- Tips for preparing for future career success
Donna Farrugia, executive director of the national recruiting agency The Creative Group, will share specific actions you can take to improve your marketability and prepare for future success.
This event will benefit both professionals and students, and lunch will be included.
About Donna
Donna Farrugia is executive director of The Creative Group, a specialized staffing firm placing a comprehensive range of interactive, design, marketing, advertising and public relations professionals with a variety of organizations. In this position, she manages operations for the firm’s locations in major markets throughout the United States and Canada. Donna has presented at industry events, including the HOW Design Conference, the American Advertising Federation National Conference and the American Marketing Association’s International Collegiate Conference. She also has delivered webinars for the American Advertising Federation and Graphic Artists Guild, and has contributed articles on career-related topics to various publications.
Donna has more than 25 years of marketing, business development and management experience. She holds a Bachelor of Science in Business Administration from the University of Pittsburgh, with a minor emphasis in systems analysis, operations research, accounting and psychology.
Agenda
11 a.m. -- registration opens; feel free to come early and network
11:30 a.m. -- lunch buffet opens
Noon -- presentation begins
1:00 -- presentation ends; feel free to stay for networking afterwards
11:30 a.m. -- lunch buffet opens
Noon -- presentation begins
1:00 -- presentation ends; feel free to stay for networking afterwards
For questions, contact the event manager Lynn Browder.
***** Want to tweet with us before and during the event? Use the hashtag #AIGAteamFuture
All ticket sales are final. Tickets are non-refundable or transferable.
DETAILS
Wednesday, September 12, 2012
11:00 AM - 1:00 PM
Hudson Grille Midtown
942 Peachtree Street Northeast
Atlanta, Geor 30309
Subscribe to:
Posts (Atom)