GD IV, V and VI: all business card/letterhead designs...

Paper color, texture and weight is a critical component of design thinking for all letterhead, business cards, business size envelopes and resumes, whether they be for you personally or for a brand for another company. How the paper/item FEELS in your hand, front and back is part of your design.

Research and explore what commercial papers that you can get sheets of. This takes time and effort. Plan to select things from the paper sample books in the graphic design room, visit Mac Papers sample room, go to Sam Flax, Expedex or Mini-Mac. Once you have selected papers, order them online from the sample room at Mac Papers or go there yourself and pick it up. (They are in Lithia Springs.)

Order or buy a number of different sheets and experiment printing your design in color (front and back) on the ink jet printers in the lab.

Letterhead: 65-80# text weight
Business card: minimum of 80-100# cover weight paper
Envelopes: you do not need to buy a whole carton. Buy extra text weight sheets and make the envelope yourself after it is printed. Get a #10 business envelope, carefully disassemble it and use as a template to make your own envelope from your selected paper.

REQUIRED of all of you:
personal business card, letterhead, envelope and resume printed out on real paper, front & back

Those in the Branding class:
business card, letterhead and envelope for your brand printed out on real paper, front & back

Due:
November 13

GD V: magazine project

For the magazine project you are expected to create one cover and three fully realized articles and a table of contents. Each article must be 3 double-sided spreads. 

This means 21 pages total:
• 3 spreads, 2 pages each=6 pages x 3=18 pages
• table of contents=2 pages
• cover =1 page

At this point in the semester, each week you must show me ALL 3 articles.

Plan on having these printed out and bound at P & P. Printed and bound magazines due November 13 for grade. The first version is a proof, so expect to make further changes and have it printed out again before the end of the semester.

GD Seniors

For your individual meetings let me remind you:

1.) For each class you are taking, you are expected to show evidence of a minimum of 3 hours (what would have been in class time) and 6 hours outside of class. Since we are not holding official class times, this means your work each week must clearly show at least 9 hours of work.

2.) You must have printouts and show physical progress for ALL the things on your to-do list from the previous week. I am checking the work you bring to the meeting against the items listed from the previous week. If you do NOT have ALL things listed, it will be reflected in your grade.

3.) I do not discuss hypotheticals or excuses. You either have your idea printed out to discuss or we will not deal with it until you do.

4.) Do not wait for me to approve an "idea". Do it, print it out, and we can discuss it. Waiting for me to "approve" an idea before you proceed is NOT an excuse for not doing anything. It is YOUR responsibility to move forward.

5.) All printouts and dummies must be to actual size of intended final piece, trimmed down and assembled.

6.) If there is not enough concrete evidence of your progress from the previous week, I reserve the right to cancel our conversation until the following week.

7.) Again, anything that is to be a series of three must be presented as a whole idea. I will not discuss parts of it.

8.) If you must miss a meeting, you must send me an email and make every effort to reschedule. Any missed meetings will be awarded a "0" for that week regardless of excuse.

All of these things are issues of professional behavior that I, Cassie and any employer expects of you. This means you show up to meetings on time, prepared, courteous and eager to make progress. 

GD III for Thursday, Nov. 1

Bring/turn in all the magazine printouts that you had up during critique yesterday. You will be given a process grade on them.

I expect to have process grades ready for you Thursday for the first stage of the accordian book project.

We will meet in the Print Shop in the Visual Arts Building tomorrow at 5:30. Bring 2-3 large (22" x 30" of so) sheets of good quality printmaking paper such as Rives BFK, Arches or Stonehenge. Any color. I understand Debrah Santini sells printmaking papers, so you might try to buy some from her beforehand (i.e.: don't expect for her to be there tomorrow when we are. Think ahead!)

GD I for Thursday, Nov. 1

Hold on to your books that we bound yesterday. They will not be turned in for a grade. I wanted to introduce you to how it works so you can bind a project we have coming up...

We will meet in the Print Shop at the Visual Arts Building at 11:00 on Thursday. I will be doing a demo on letterpress printing and you will be setting some type and printing as well.

Bring 2-3 large sheets (22" x 30" or so) of good quality paper such as Rives BFK, Arches, Stonehenge or any kind of printmaking paper. Soft, cotton rag papers work best for letterpress because they show the impressions on the paper. I understand Debrah sells some papers, so you might try to buy some from her. They should also have something at the bookstore.

Attention! those casting letters during Art Incend

There are several teams of graphic design students working on creating letterforms that will be cast in metal during the Iron Pour the last Friday of Art Incend week (next week!!!!). The idea is that these cast letters will ultimately become installations around campus afterwards.

It is critical that team members be in good communication with one another about the overall strategy for letters for each word so they will be consistent in size and approach.

Kevin Shunn will be available on Wednesday afternoon beginning at 3:30pm in the Visual Arts Building for a couple of hours to help you prepare your letter for making a mold. The mold will then be used for the Iron Pour on Friday, November 9. Do not assume your letter will work as is! You must make your letter and pass it by Kevin or someone who knows the process well before proceeding to the mold room! 

The mold room will be open starting this coming Thursday, November 2 and will be going until the following Thursday, November 8. It will close that day in preparation for the Iron Pour the following day.

GD I: Bring in ALL sketches, etc. for your "hillbilly word" project!

I would like to grade your "Letter Identifiers" [aka: Hillbilly word project] as soon as possible. Please bring in ALL of your drawings, sketches and anything you did pertaining to your process for this project to class on Tuesday. Put everything in a manila envelope with your name on it. I should be able to get these graded back to you by Thursday of this week.

GD III Mid-Term graded

The mid-term for GD III has been graded. You can access your grade through CourseDen.

GD I: Mid-term exam is graded

I have graded all mid-term exams for GD I. You can now access your grade through CourseDen.

Better late than never: join our Facebook Page!

Please join the Facebook page for Graphic Design at UWG. There are pix of recent field trips loaded. Please add to, like and invite all your friends!

http://www.facebook.com/GraphicDesignUWG?fref=ts

GD I class CANCELLED for Thursday...

GD I class is CANCELLED for Thursday. Please check the blog again after Friday for what you need to have for next Tuesday's class, October 30. I am in the process of grading your exams, so those grades should be available for you to view on CourseDen this weekend.

Have a good weekend, and arrive to class Tuesday rested & ready to go!

GD III for Thursday, October 25

Thursday will be a work day so continue working on re-design of your magazine cover + 3 spreads of an article about an artist. Yes, you may change your subject, but if you make this decision, you must also invest the time in solid research. 

Don't forget the websites available to you with usable images that Gwen of the Visual Resources library told you about earlier in the semester. The info is in an early posting on this blog for your reference. Do not waste your time or mine on images dragged off of the internet unless they have the proper size and dpi to help you towards your final goal of a printed piece. Going to the library and finding books with images you can scan is another great resource and worth the time as you have control over the scan. Finding usable images is YOUR responsibility and a big part of problem-solving this assignment.

On Thursday, I hope you will all take the opportunity to get extra credit to improve your grade by attending the event at Museum of Design Atlanta. Check earlier blog posting. I'm not positive I will be able to make it, but I'm going to try. Regardless, you must provide me with hard copy proof that you were there to get the extra credit. This means a ticket, a printed out photo of you there (there must be identifying things in the photo) or another artifact that proves it.

Due at the beginning of class on Tuesday: 
• Minimum of three versions of a cover idea, printed out at full size and trimmed down
• An entire article designed: three spreads/six pages, printed out at full size and trimmed down

There will be a class critique. We will not consider any work that is not properly printed out, trimmed down, and hung promptly at the beginning of class. Meet in Room 225 (critique room on second floor.)

GD I for Thursday, October 25

Things you should always have for class:

11" x 14" tracing paper
pencil/sharpener
kneaded eraser
white artist tape
cutting mat
exacto knife
metal ruler
triangle

We will be starting on your next project and talking about binding the hillbilly book.

Creative Boot Camp: Free!

We already have one of our students from the GD III class sign up for this great experience. It looks like it will be awesome!  I will give extra credit to anyone who attends (must show me proof.) Great portfolio builder + unusual opportunity for a peek into the world of advertising....

Here is the text of an email I just got about it:

Hi Joey,

I hope you’re doing well.

Just as a reminder, the One Club Creative Boot Camp Atlanta is almost 1 week away! We would love to have students from The University of West Georgia participate this year. If any of your students are interested in attending this FREE four-day creative workshop, please have them sign up HERE.

All majors are welcome to attend.

Dates:

Thursday, November 1^st – Sunday, November 4^th

Location:

Morehouse College

The Leadership Center

830 Westview Drive, SW

Atlanta, Gerogia 30314

Led by creative directors and designers from across the US, this FREE four-day workshop will introduce students from the Atlanta area to the art of creating advertising for a real client from initial concepting through the final pitch. Throughout this process, participants will compete for an internship at the sponsoring agency, Publicis New York.

Below are some of the key benefits for students that choose to participate in this FREE workshop.

The One Club Creative Boot Camp:

•    Provides students with the opportunity to experience what it's like to work at an agency as a copywriter and art director by creating an advertising campaign based on a creative brief provided by a sponsoring agency.

•    Creates opportunities for networking with top local advertising professionals, who participate throughout the 4-day process as mentors and guides. 

•    There is no minimum GPA requirement to participate in this program. All students really need is creative ideas.

•    Participants walk away with a solid advertising campaign to add to their portfolios.

•   Provides free breakfast and lunch to all participants during the course of the workshop.

•    Serves as a 4-day "crash course" internship by providing hands-on experience.

•    Gives students the chance to compete for a guaranteed internship position at the sponsoring agency.

Hope to see some of your students there!

Last Day for Advising is Wednesday!!!!

All graphic design students are being advised by Cassie Hester this semester. The LAST DAY to get an advising appointment with her is this coming Wednesday, October 24. Sign up for an appointment on Tuesday or Wednesday on the sheet on her door, Room 311 Humanities Building.

Those who DO NOT do this cannot guarantee advisement before registration begins Monday, October 29.

Installation project/Casting letters during Art Incend

Graphic Design area project for Art Incend the first week in November:

Graphic Design students are working on designing and making molds to cast letters for the words "Ignite" and "Spark" (or is it "Strike"?...). Two teams are designing one word each by creating letters to be cohesive in scale and concept. They are then creating 3-D letters using found materials that will be used to create molds that will then be used to cast the letters in metal during the Art Incend iron pour Nov. 9. After Art Incend, sites will be selected around campus to create an installation using the cast letters. This could be great work for your portfolio! + fun ....

Any graphic design student is more than welcome to participate!

So, two questions:

1.) Two students have dropped out of the original two teams, so Cassie and I are looking for two volunteers to take over the design and production of two of the letters (not sure which ones or for which word just now.) This involves a time commitment to work within the team and see the project through to completion (being responsible for getting the molds made in time and overseeing the casting, etc.) You could even put on the "leathers" and do metal casting yourself.

2.) If you are interested in forming a team to create new words, we need to get busy really soon. Five students signed up on a sign-up sheet last week during the GD I class, but I seem to have misplaced it. Can't remember everyone who signed up. We talked about creating the word "Imagine" which would require 7 students to each create one letter each. Are the students that signed up still interested?

The cost for participating will be approximately $35 in order to replace the materials & metals you will use.

Please send me an email if you are interested in either project listed above. It will be awesome to create something that will become a one-foot high letter in metal that will become an installation. If it turns out well, we are planning to photograph and document the project and send it in to some design competitions. Having this on your resume would be a-m-a-z-i-n-g!

I will give anyone extra credit who participates.

We will need to have a meeting sometime next week to get this underway....

jhannaford@comcast.net

Another extra credit opportunity...

I will give extra credit to anyone who attends this event. You must provide proof that you have attended. It is highly recommended that you do your homework on print technology terms in order to get the most out of the workshop. Ask me and I can direct you to some good sources.

Fresh Prints: Fundamentals of Print in the New Media

Friday, October 26, 2012 / Atlanta

REGISTER NOW

Sappi Fine Paper, SCAD and AIGA Atlanta are partnering to provide students with an introductory workshop by Daniel Dejan, North American ETC Print and Creative Manager for Sappi Fine paper, about the fundamentals of color management and print as a crucial component of the new media mix.

 

This workshop is student-focused, however it is FREE and open to the public. You MUST register online to attend.
The workshop is Friday, October 26th from 9 am to 1 pm at SCAD in Event Space 4C. Free parking is available in the SCAD parking deck.

 

Learn more about the topics that will be covered in the workshop and about speaker Daniel Dejan below.

 

The Standard No. 2 — Intro. to Color Management

 

An introductory workshop demonstrating how to understand color from monitor to press and beyond. The seminar is broken into three parts. The first section demonstrates how to go beyond four-color process with touch-plates, ink substitution and stochastic using a comparative demonstration of the same image. The second section addresses Color Management. Expert tips are recommended for getting better color and managing the digital workflow. Lastly, the third section goes beyond four-color and shows a variety of techniques including UV, special match inks and Extreme Silver (also known as MetalFX and Liquid Foil) to expand and augment the standard print gamut.

 

Print in the New Media Mix (Life with Print)

 

Integrated Marketing, Multi-Channel Distribution, Social Media/Networking are a few of the many descriptors currently used to describe the new business models being implemented by advertisers, marketers and media strategists. Our consumer society is abound with new devices, many hand held, as primary sources for communications and intra-connectivity which leads traditional, legacy medias such as television, radio and Print to ask the larger questions. Where do we fit in? Is Print truly a waning media? Is it being replaced by "disruptive technology"?

 

A discussion on how the print industry can evolve its share by proving its effectiveness as part of the communications mix: how does Print complement Social Networking and the Internet; how will eReaders and Tablets impact Publishing and readership; how using QR codes and Augmented Reality codes can add a multi-media and multi-dimensional aspect to enhance the Print experience.

 

Using elements from Sappi's Life with Print US and European campaigns, this discussion demonstrates the truly unique way print adds value to capturing memories, imagination and attention to build brands, sell goods and deliver corporate messages. Focus is on generating visibility for the concept of print as a superior communications mix within the creative community and among advertising and marketing decision makers and influencers.

 

About Daniel Dejan

 

Daniel Dejan is an award-winning graphic designer, art/creative director, production manager and print buyer. He is widely respected in as both an educator and a talented presenter with a wealth of content to share with the communications, graphic arts and print industry.

 

As North American ETC Print & Creative Manager for Sappi Fine Paper, Dejan provides value-added marketing, sales and technical consultation as well as in-house and end-user training and education for the print, paper and creative communities. Dejan is Certified G7 Expert with a proficiency in Color and Color Management.

 

Working as a member of Sappi's ETC Group: Education, Consulting and Training, Dejan travels all over the map sharing his expertise in keynote addresses, seminars and workshops for AIGA as well as other various printing and communications organizations.

 

SCAD Atlanta | 1600 Peachtree Street NE | Atlanta, GA

 

***** Want to tweet with us before and during the event? Use the hashtag #AIGAfreshprint 

 

For questions, please contact Addie Courington.

Creative Process

"There are no formulas in creative work. I do many variations, which is a question of curiosity. It is a game of evolution." - Paul Rand

URGENT! Must respond about field trip!

Those who are on the list for the field trip to Cartoon Network and Primal Screen MUST send me a confirmation email before 8:00am on Monday. Send to: jhannaford@comcast.net

If I do NOT receive confirmation that you have agreed to all the conditions and are definitely attending, you will be dropped from the list Monday morning so we can add those next on the roster.

If you agree to this, the only excuse for not being there is your own unexpected death. :)

Think about it, you would be taking up a spot that someone else could use...

Also, it is NOT an option to go to one place and not the other. For example, skipping Primal Screen and showing up at Cartoon Network. You are agreeing to all or nothing.

I will be sending a confirmation roster to Security at Cartoon Network first thing Monday morning. You must arrive with an ID for them to let you in.

Extra Credit for anybody!

I will give extra credit to anyone who attends this event. You must bring me proof that you were there. I will be there, so I'll be looking!

GD III class will have a work day that day, so no class meeting on Thursday, October 25.

Museum of Design Atlanta Drink in Design:

Studio Session with Trek Matthews

Thursday, October 25, 6-8pm

Join us for a very special open studio session led by Trek Matthews during Drink in Design on Thursday, October 25.  

Trek Matthews is a young illustrator, public artist and urbanist who explores multiple mediums of contemporary art and how they can influence modern culture.  During the evening, Trek will explore three forms of urban art – graffiti; street art; publicly sanctioned art – and the complex relationships between them.  He will also share select images and discuss how the implementation of urban art can transcend the barrier between public and gallery space and transform an area aesthetically and culturally.  

Following the informal talk, Trek will lead patrons in further discussion and sketching exercises during an open studio session.

Be prepared to examine the unique processes and mindsets of urban art and create your own inspired work.  MODA will provide basic drawing materials, but feel free to bring your own! 

To purchase advance tickets, click here.

It is $5 for students.

GD Seniors: Individual meetings

There are only 6 weeks left in the semester so time is of the essence. It is critical that you arrive at your individual meeting with me prepared to have a productive conversation about things you have DONE (not thought about) in order to make progress. 

• This means you must use time management skills and plan to print your work BEFORE the day of our meeting, not 30 minutes before. It is no longer an excuse that you couldn't get the printers to work, one of them was out of ink, or there were a lot of people printing in the lab. As you know by now, there are always unexpected things going on in the printing lab. It is your job to anticipate this and plan around it. Even if that means you get things printed somewhere else or print in the middle of the night. Solving this problem is YOUR responsibility.

• Last week I asked each one of you to identify three projects you will work on the rest of the semester. Each week I want to see significant work progress for each of the three projects. No excuses. "See work" means printouts done to the correct size and trimmed down so they are as accurate as possible. If I can't see the work, it does not exist.

• Do not wait for me to tell you everything. It is your job to figure it out. If you want to run an idea past me, send me an email. Do not wait until the next appointment and use this as an excuse for not doing anything.

• During our conversations each week, we will identify and agree on the things I will expect to see the following week. You will make a written list and photocopy it for me at the end of our meeting. When we meet the next time, I will be checking off what you have against that list.

• If you are working on a project that is a series of three things, you must have full size printouts of all three items, or we will not include any of that work in our conversation.

• Each week I will give you a grade based on all of the above. This will figure prominently in your final grade.

GD III for Tuesday, October 23

Beginning of class: Mid-term exam on all reading.

Also work on your magazine re-design. If you would like to completely start over, I'm OK with that, but once you commit to it, do it. Your research on locating both images and information must be solid. Remember when Gwen from the Visual Resources Library visited our class earlier in the semester? Remember the handout & info she gave you? Use it.

All the type info in your Graphic Design Survival Guide about dealing with details (craft) of typography? Use it.

Since you are more mature designers at this point, I'm going to be super, super picky about everything: Type details, image quality, conceptual validity, everything.

GD I for Tuesday, October 23

Beginning of class: Mid-term exam on all reading.

Afterwards: work on binding your Hillbilly book, so bring your supplies.

Field Trip to Cartoon Network and Primal Screen

After much wrangling and weazel-ing, I have finally been able to get confirmation with my contacts at Cartoon Network and Primal Screen for a date for us to take a field trip to Atlanta. It will be Friday, October 26 -- all day.

I didn't have to do this. This is not a requirement of my job. I wanted to do this for you. I have worked really hard to get this to happen and called out a number of favors from friends. It is a very unusual opportunity as Cartoon Network does NOT generally give tours or let in the public. Security is tight and they have asked that we only bring a very limited number of students as they don't have facilities to accommodate large groups. The top grade averages for GD I , II and III have earned a spot on the roster.

GD I:
Tindall
Horton
Pagel
Flynt
Todd

GD II:
Head
DeFilippis
Cook
Derrick

GD III:
Douthit
Sutz
Marston
Ramos
Rivadeneira
Pontip V.

For you to be able to go you must:
1.) commit to attend an "orientation" meeting next Tuesday October 23 from 4:30-5:30
2.) arrive at the meeting having done your homework on Cartoon Network and Primal Screen. Who are they, what do they do, what is their history, etc. Find out as much as you possibly can about both. CN and Primal Screen have asked what sorts of topics you would like for them to cover, so come with well-informed, intelligent questions that we will discuss in the Tuesday meeting. After that, I will be sending CN and PS a list that they will base their presentations on.
2.) dress in a nice, professional manner
3.) write a well-designed, approved-by-me thank-you note to both places afterwards (we will discuss)
4.) be on time
5.) car-pool 


Our appointment at Primal Screen is at 11:00am and Cartoon Network is 2:00pm. You must leave Carrollton no later than 9:00am on Friday. You will not be back until at least 6:00pm. It is NOT an option to go to one place and not the other. This is all or nothing.

If you are on the roster, it is imperative that you confirm that you agree to the above conditions and that you will attend by sending me an email at jhannaford@comcast.net before 8:00am on Monday, October 22. If I do NOT receive an email from you by then, you will be dropped from the roster so we can add those next in the list. I am required to send a list of names to Security at Turner Studios Monday morning.

GD III for Thursday, October 18

Interesting critique yesterday. I hope it gave you all some ideas on things to improve on your accordian-fold book. HOWEVER, I think it would be productive to let your brains rest on that particular project for a short time. We will return to it periodically during the semester and it will be due at the end. 

Next project: 
redesign your magazine cover, table of contents, and first article from the magazine project you did in GD II last spring. At this point, you have been working on another grid-based, sequential project in the accordian fold book assignment and your design skills have matured since last spring, therefore I expect you to improve your design approach in the re-design. Review Chapter 5 in your Typographic Design textbook.

Mid-Term:
Next Tuesday we will have a mid-term exam on the following information:

Typographic Design textbook:
Chapters 2, 3, 4, 5, 6, 7

Stop Stealing Sheep:
whole book

Graphic Design Survival Guide:
all of it

There will be a review of the above during class on Thursday. Bring all books with you to class.

GD I for Thursday, October 18

Due at the beginning of class: PDF files of completely fabulous cover designs for "Fixin To", a black and white design of your hillbilly word, and a color version. I will assemble these into a single printable file and take to P & P to print 14 copies of each of the interior pages. Next week on Tuesday after your mid-term, I will give a demo on how to make this into a book. 

IMPORTANT: put your name on each of your interior pages (the black and white version and the color version of the word) in 10 point Helvetica at the bottom right hand corner.

In the meantime, you should be reviewing and reading things in your textbooks in preparation for a mid-term exam next Tuesday.

Typographic Design:
Chapters 2, 3, 4, 6 and 7

Stop Stealing Sheep:
whole book

Graphic Design Survival Guide:
anything about typography

Also: Cassie gave each of you a set of fabulous flash cards at the beginning of the semester. Anything in them is fair game for the test.

We will be having a review during class on Thursday. Bring all of the above to class on Thursday.

Need volunteer to work on Art Ed brand/logo

Jim O'Connell (the new Art Ed faculty member) has asked if there might be a graphic design student who is interested in helping work on a new brand/logo for the Art Ed area in the Department of Art. If you are interested, please contact Jim directly: James O'Donnell <jodonnel@westga.edu>

This could be a good line on the old resume....

IMPORTANT NEW LAB POLICY: all students

From now forward, lab use is restricted to ONLY students registered in the class scheduled for that particular time period. If you wish to use the lab, you must plan to use it when there is NOT a regularly scheduled class taking place. No exceptions.

Seniors: new Doodle poll

Please sign up for a day/time for your individual meeting with me for the remainder of the semester.

GD IV: sign up for a Tuesday time slot to discuss Branding assignments
Amanda: sign up for Tuesday to discuss Branding
Kaley: sign up for Tuesday to discuss Branding
Brittany: either Tuesday or Thursday

GD V: sign up for either Tuesday or Thursday unless noted otherwise

Jessica
Leah
Ashley
Casey
Kaley: sign up for Thursday to discuss GD V work

GD IV: sign up for either Tuesday or Thursday. 

Amanda: sign up for Thursday to discuss GD VI work
Dustin
Jaime

http://doodle.com/usedvgbu7cfhqucp

Please watch the poll and don't overbook me! If a time period is taken, it is taken. On both Tuesday and Thursday, when I am not busy with an appointment, I will be available during class times (2:00PM-4:45PM) to help or answer questions.

GD III for Tuesday, October 16

Due at the beginning of class:

Your entire accordian fold book printed out in color, full size, trimmed down and assembled (use white artist tape on the back.) Incorporate improvements that were mentioned to you in class, as well as your own further improvements.

Print on 13" x 19" Epson ink jet paper. Since the printer cannot print a 72" long document, you must strategize a way to break up your image into printable chunks that are a maximum of 18" long. You will then trim them down and assemble them. The final product should look as close to a finished piece as possible.

There will be a class critique starting promptly at 5:30. No excuses. Late or incomplete work will not be critiqued.

After the critique, we will work on developing the map for Art Incend. 

While the class is working on the maps, I will have individual mid-term meetings with all students I did not see today.

GD I for Tuesday, October 16

Due at the beginning of class, a completed Illustrator file in 8.5" x 14" format:

1.) One black, white and grey (if need be) version of your word
2.) One color version of your word using only legal hillbilly colors.

Judiciously apply color, being sure there is an even balance across the entire word. There should not be too much repetition of one color in any one spot. Also, think about the VALUE of the color and use that to achieve variety throughout.

You may use ONLY TWO of the following colors + black:

Hillbilly color palette: all colors listed as CMYK (cyan, magenta, yellow and black) in this order

Shit brown: C54, M59, Y81, K26
Bile Green: C44, M7, Y100, K32
Odor Orange: C0, M70, Y100, K0
Bullshit Blue: C79, M16, Y10, K0
Numnuts Purple: C44, M66, Y0, K25
Neutral: C0, M14, Y24, K28
Redneck Red: C0, M90, Y90, K15

Also, design a cover for your book. The text needs to read: 

Fixin' to (title)
Expressions in the Southern Vernacular from the GD I class at West Geezie (subtitle)

When designing the cover, less is more.

BRING TO CLASS:
a minimum of 10 sheets of 13" x 19" Epson inkjet printing paper
xacto knife, new blades
metal ruler
white artist tape
glue stick
triangle
pencil, kneaded eraser

GD III: Wednesday Doodle poll added

The time slots for Mid-Term meetings for Thursday are almost full. I have had to remove the time slots for Friday because I must be out-of-town, but have expanded on the times available for Wed. Please sign up ASAP. If none of these times work for you, send me an email at: jhannaford@comcast.net right away.

http://www.doodle.com/w5fk5yaevhpu2m96

FREE Branding tutorial....on Tuesday @ 2:00

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Author Joshua Chen shares how you can ultilize the concept of brand archetypes in your work Register Now Virtual Book Signing: Archetypes in Branding A toolkit for creatives and strategists When: Tuesday, October 9, 2012 Time: 2:00-3:00 pm Eastern (1 hour) Price: FREE Join co-author and designer Joshua Chen for a Virtual Book Signing and preview of his NEW book Archetypes in Branding: A Toolkit for Creatives and Strategists. Applying archetypes to your branding process can help everyone stay on the same page, and on strategy. Hear Chen talk about how to use the book and its 60 unique (and beautiful) archetype cards as a practical tool for navigating the branding process, and learn how you can take advantage of the psychology behind archetypes to create a winning brand. Register and listen live, and you could win a copy of the book for yourself! Archetypes in Branding is available from MyDesignShop. Click here to learn more. Can't make the Live Session? No problem! Go ahead and register now and you will get the recording via email within 3-5 business days of the live session, along with an exclusive coupon you can use toward purchasing this great toolkit. Archetypes in Branding - A Toolkit for Creatives and Strategists Includes Deck of 60 Archetype Cards for a truly hands-on experience! BUY NOW

First Portfolio Stories from famous designers

This posting and the next are from an online magazine called Imprint. For more, go to: imprint.printmag.com. They are stories from prominent designers about their first portfolios. Thought you all would find it interesting. BTW, Debbie Millman is currently President of AIGA National.

My Kinda Sad Portfolio Story

by DEBBIE MILLMAN on OCTOBER 4, 2012

This week and next, we're asking the judges of the Print Portfolio Review to tell us about their portfolios—specifically their first portfolios, and how they helped or hindered their early careers. Yesterday, Mirko Ilić told us about the "big paper salad" he brought to New York City in 1986. Today, Debbie Millman writes about her first portfolio.

The only job I wanted after graduating from college was to work for Vanity Fair magazine. Back then (the early 1980s), the magazine was a heady literary publication edited by Leo Lerman. The covers featured quirky designs by David Hockney and Irving Penn photographs of Susan Sontag, Italo Calvino, and Woody Allen (as Groucho Marx). I obsessively pored over each issue trying to crack the code of brilliance I was convinced they contained. Per the policy at Condé Nast, I dutifully dropped off my faux-leather, sienna-brown portfolio for review. My precious portfolio was filled with plastic-covered pages I’d edited and designed (and spent months agonizing over) for my school newspaper, The Albany Student Press, as well as overwrought logos for a pretend restaurant I’d named Cherries & Walnuts. It also contained several mock Vanity Fair covers I’d taken it upon myself to create; they featured a series of black-and-white Russian Constructivist–style wood etchings without any cover lines whatsoever. Miraculously, when I returned to pick up the portfolio, I was informed that Charles Churchward, the design director at Vanity Fair at the time, requested I come in for an interview. Human Resources would be the next stop.

One of the spreads in my first portfolio

This, to me, was the equivalent of winning the lottery. I spent every waking hour prior to the interview reorganizing the contents of my portfolio and trying on everything in my “career closet,” posing in outfit after outfit in an effort to ensure I could make the best possible impression. My wardrobe consisted of clothes my mother had lovingly handmade as a graduation gift. The morning of the interview, I settled on a royal-blue bolero jacket, a matching knee-length A-line skirt, a beige faux-silk (polyester) blouse with blue pin dots and an oversized, floppy bow in front, sheer black stockings, and flat black patent-leather loafers. I anxiously gazed at myself in the mirror and took a deep breath before leaving my mother’s Queens apartment. I knew that what happened next could change my life, and as I sat on the cramped, balmy express bus into Manhattan, I fantasized about befriending the Human Resources director, being invited up to meet Mr. Churchward, getting hired as his trusty assistant, working late nights and weekends, cavorting with the glamorous editors and art directors and designers, and, of course, spending my entire career being fabulously successful at the best magazine company in the whole wide world.

My resume at the time

I exited the bus on 42nd Street and Madison Avenue and skipped toward the Condé Nast building, my big bow billowing in the July breeze, my overstuffed portfolio banging against my legs, when the unthinkable happened: I tripped. I fell knee-first into the sidewalk. I toppled so hard and so fast that my portfolio went flying and three passersby came to my side. As they asked me if I was OK, I felt my stinging knee and knew without looking: I had an ugly bruise on my leg and a vicious tear up my stockings.

I didn’t have time to buy new hose, but I quickly realized that my skirt and the tactical placement of my now scuffed portfolio could mask the bruise. I lumbered on and made it to my appointment on time. When I met the Human Resources executive, I was mesmerized. She was unlike any other woman I had ever encountered. She was breezy and elegant and alluring in her a pale yellow sleeveless shift and a big jangly bracelet. She had the thinnest arms I had ever seen and the biggest office I had ever been in. She invited me to sit down and I shyly complied; I felt the hole in my stockings widen and prayed she didn’t hear the ripping sound. She looked through my bruised portfolio without uttering a syllable. I remember that I could hear the slapping of the plastic pages as she quickly rifled through them. When she finished, she shut it with a thick thud. She looked me up and down. And then we had the following conversation:

She:

“So. What kind of design do you want to do?”

Me:

“Excuse me?”

She:

“What kind of design do you want to do?”

Me:

“Kind of design?”

She:

“Yes.”

Me (with a furrowed brow):

“Hmm. Um. I think I would like to do any kind of design.”

She (with very furrowed brow):

“You can’t do any kind of design. You have to pick.”

Me:

“Pick?”

She:

“Yes. You have to pick. You have to pick editorial design or promotional design or advertising or custom publishing. You must choose one.”

Me (thinking to myself):

Well, I really want to say editorial but maybe I am not good enough, and though I don’t know what custom publishing or promotional design are, I will say “promotional.” But really, I would happily sweep the floors if they want me to.

Me (actually speaking):

“Um. Promotional?”

And then I couldn’t help myself. I continued talking:

“But I would do anything. Anything you need.”

And then there was silence.

She:

“Well. Yes, then. I see.”

And with that, she sighed and made one sweeping gesture for me to take my portfolio back. I looked at her and picked it up. Though she said she would be in touch, at that moment I knew I was never going to hear from her again, and I never did. I made some small talk as I was escorted out; I remember asking her how long she had been at Condé Nast and I remember her replying “12 years” with a clip in her voice.

Several months later I got up my nerve and called her, but the person who answered the phone told me she no longer worked there. By then I had gotten my first job, as a traffic girl at a fledgling cable-television magazine. I worked late nights and weekends and cavorted with the editors and art directors and designers and, of course, I didn’t spend the rest of my career there. But when I worked there, I joyfully learned about editorial design and promotional design and advertising and even custom publishing. I realized how much I did know and how much I didn’t know and embarked upon what has become a lifelong journey in learning about the abundant and bewitching specialties in the marvelous discipline that is considered graphic design. And I look back on that first portfolio, now long gone, with a combination of sentimental nostalgia and a little bit of shame. But all these years later, I’m still proud of those Russian Constructivist copy-free covers.

.

Early fragments of this essay appear in the book Essential Principles of Graphic Design by Debbie Millman (HOW Books, 2008).

Read more: Debbie Millman on Her First Portfolio 
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