Unite Identity

Congratulations Victoria, the students from the other schools voted on all the great logos submitted by many of you and have chosen Victoria's to be used on all the collateral materials. The schedule is really tight.

Please work on poster designs which include the following info:
AIGA logo (box)
Unite logo
Date, time, location of event
PLNU address, name of building
Speaker: Margo Chase

PORTFOLIO REVIEW ART 469

SPRING 2012 ART 469 --- FRIDAY’s 8am-9:30am
Killer schedule to keep. We will use the class time to review the work done outside the class. You need to plan your life around the requirements for this and the Advanced Course, all building to AMAZING PORTFOLIO'S!

S C H E D U L E

WEEK 1-7
-Projects 7-10, balance of logos
-Portfolio Building --- working on content to go into the portfolio

WEEK 7
-Introduction to the book
-Portfolio Theme
-Portfolio Grid Rough Content Layout

WEEK 8
-Portfolio Grid Refined Content Layout

WEEK 9-10
-Photography of products
-Rough Layout of entire book

WEEK 11-13
-Tight layouts of the entire book


WEEKS 14-15
-Printing/Fabrication Process

ADVANCED GRAPHIC DESIGN ART 490

SPRING ART 490 TUES/THURS 6:30-8:30


PART I: ADVANCED TYPOGRAPHY | Weeks 1-6
This section expands on previously learned principles and incorporates more advanced
issues such as organization, hierarchy, layout and grid systems. Students will begin to
investigate ways to communicate content and meaning of text. The work is geared toward
inclusion in the final portfolio.

Project | Typographic Book | Weeks 1-3
Taking a traditional children’s story, re-designing the book using strong, experimental typography and original illustration or photography.

Project | Publication Layout| Weeks 4-6
Redesigning an existing publication, or generating a new publication, using strong, experimental typography and original illustration or photography.


PART II: INFORMATION DESIGN  | Weeks 7-11 
This section students will develop design strategies for the visual presentation of complex  information. Students will investigate the design, editing and analysis of graphic representations of data. The course will explore ways to enhance the clarity, density, and dimensionality of information display. The work is geared toward inclusion in the final portfolio.

Possible Projects | CSR Report or Annual Report
Research, write, assemble data as content for a CSR Report or a Corporate Annual Report. Concept, design, and refine the final publication for inclusion in the portfolio. 48-60 page document including information graphics, charts, graphs in addition to copy, illustration/photography.

PART III: THE BUSINESS OF DESIGN | Weeks 12-16
This section of the course is intended to prepare students for the profession from a practical, business perspective. We will touch on the following; professional relationships, designer, illustrator, project manager, client, art director, advertising agency, design firm, in-house. In addtion to; legal rights and issues, copyright, work-for-hire, freelancing, spec work, sales tax. Esstential business practices; use of fonts, software, illustration, photography, billing, tracking, record keeping, salaries, trade customs, contract, forms, proposals

LOGOS TO RE-DO

Regents Bank, Goodrich, Verizon, Leap Wireless, Qualcomm, Stratagene, Micron, Genesis HealthCare, King Chavez Charter School, Life Technologies, Callaway Golf, San Diego Port District, Maxwell Technologies, ResMed, Sharp Healthcare, PetCo, San Diego Opera, Comic Con, Albert Einstein Academies, Coleman Tech Charter School, Museum School

FINAL PRESENTATION

FINAL:
Our final will be on WED DEC 14th 5-8
-5 MINUTE presentation of all six projects
-a submission of a PDF file of all work completed during the semester (6 projects and 6 logos)
Including:
-creative briefs for all
-presentation quality files for each, organized and presented

AIGA AT HOMECOMING

AIGA PLNU group had a booth at the ANNUAL Homecoming Extravaganza to highlight/benefit  campus clubs! 

http://www.flickr.com/photos/aiga_plnu/

DESIGN FOR GOOD

What can designers do to change the world? A lot. In this video, hear from leaders in the AIGA community about the importance of design in solving society’s trickiest and most pressing problems, see examples of  how individuals, chapters and companies are already making a difference, and learn more about the ways in which you, and designers everywhere, can get involved in Design for Good—a movement to ignite, accelerate and amplify design-driven social change.


http://www.aiga.org/video-design-for-good/

Silkscreen Workshops at Visual Asylum

amyl@visualasylum.com

Time Sheet

Due the beginning of every class on Mondays, time sheet filled out recording your time spent on all activities related to this course. Check your email for the PDF form, also placed on the HAPPY server.

-track Lynda.com tutorials completed
-meeting with your portfolio group
-AIGA meetings

For each project
-track concepting time
-computer/design time
-crafting/fabrication time

CONFERENCE PROJECT IDEAS

AIGA National Conference
http://www.aiga.org/Events/

HOW DESIGN CONFERENCE
http://pages.designcommunity-hub.com/howdesignlive2012/

DWELL ON DESIGN
http://dod.dwell.com/

DESIGNER CON
http://www.designercon.com/

PAUL RAND EVENT POSTERS AS INSPIRATION
http://www.paul-rand.com/site/posters/

AIA Annual Design Conference
http://c1e2a683b44ef930c1afe55667e83c5fa50f04d2.gripelements.com/events-programs/annual-design-conference/index.php

GREAT BLOG
http://vi.sualize.us/
http://www.designworklife.com/

AIGA National Letter Against Contests!

AIGA URGES THE OBAMA 2012 CAMPAIGN TO RECONSIDER
ITS JOBS POSTER CONTEST

Article by Richard Grefe
October 24, 2011.

Editor’s note: The following is the text of a letter sent by Richard Grefé, AIGA executive director, to Jim Messina, campaign manager for Obama for America (Barack Obama’s 2012 presidential campaign), and David Axelrod, senior campaign strategist, on October 21, 2011. It is in response to “Art Works: A Poster Contest to Support American Jobs,” which asks designers to work speculatively to promote the Obama administration’s jobs program.

AIGA is committed to supporting the interests of professional designers and strives to play an authoritative role in promoting and communicating standards for ethical conduct and professional practice in the design community. The full content of our letter has been republished here; as always, we welcome your comments and questions.

 October 21, 2011

Dear Mr. Messina:

AIGA, the most established and largest professional association for communication design in the world, urges the Obama campaign to immediately:

Cancel the Art Works poster contest that trivializes the value of design by failing to compensate for it and assuming ownership of intellectual property rights, against standard professional principles, and

Consider the role of design in creating social and economic capital as well as innovation and growth, treating it as an economic driver instead of a creative indulgence, and involve the design community in integrating design into an economic strategy for strengthening U.S. competitiveness.

The recent “Art Works: A Poster Contest to Support American Jobs” demonstrates a lack of respect for the design profession, violates global principles and standards for professional design practice, contradicts the intent of creating jobs for American workers and asks designers to give up intellectual and creative property rights.

As executive director of the oldest and largest professional association for communication designers in the country, I speak on behalf of a profession that is central to innovation and creative value in the U.S. economy. We urge you to cancel the poster contest and consider alternative, appropriate approaches to achieving your need for great design that communicates effectively. No creative community in the world is as talented as American designers and as eager to be engaged on challenging assignments to enhance understanding of complex issues. For instance, over the past decade, AIGA and its members have been active participants in enhancing the citizen experience and clarity in the election process through the Design for Democracy initiative.

The Art Works poster contest asks designers to work speculatively, creating designs without compensation for an activity that has value to a potential client, against established global principles in communication design. We are quite certain that public relations consultants, political consultants, networks, telecommunication providers and advertising media are not asked to donate their services and turn their ideas, research and work over to a campaign that is poised to raise $1 billion without compensation. This demonstrated lack of respect for the value of creative endeavors is exacerbated by the stipulation that ownership of all the creative property submitted, whether or not selected, is transferred to the campaign. And it is particularly contemptuous to ask the creative community to donate their services in support of a jobs program for other American workers.

There are ways in which you can seek proposals from designers that do not violate the integrity of the profession (and the client) and we would be willing to work with you in developing a process to solicit ideas leading to retaining a designer to develop an effective design and program to advocate your messages.

The Obama for America campaign would also be well served to shift to a strategic perspective in involving the design profession by exploring with us the means to develop policy proposals to enhance the support of design as a key driver of innovation and economic growth in the U.S. economy. The government, in aggregate, is undoubtedly the largest single client for design services in the economy. Design provides a highly leveraged, relatively low cost means of enhancing the competitiveness of the nation’s products and services as well as a critical element in enhancing effective and efficient citizen-based government services. Recognizing this would follow the example of countries like Korea, China, Singapore and the UK in advancing productivity relevant to the 21st century.

If you choose to proceed with this contest, we will feel compelled to single it out as a reflection of your lack of respect for designers and your perception that design has little value, even while you are encouraging creating work for other workers and professions. Incidentally, it is also undoubtedly injudicious to seem to politicize the current NEA initiative entitled Art Works that is a well-conceived effort to demonstrate the value of art to communities.

Yours truly,



Richard Grefé


AIGA executive director

cc: David Axelrod

About the Author: Richard Grefé is the executive director of AIGA, the professional association for design. He is generally involved in all of AIGA’s activities, although his major contributions are in strategy, formulating new initiatives to enhance the competitive success of designers and advocating the value of design.

AIGA SAN DIEGO MEMBERSHIP EVENT

Thursday, October 20, 2011 — October 20, 2011

6pm - 10pm

3rdspace

4610 Park Blvd, Unit 3

San Diego, CA 92116

View Map

Register Now

http://sandiego.aiga.org/events/2011/10/68591749

Come mingle with fellow designers and discover what drives each of them. You’re invited to join us for a few spirits, some great eats and music by DJ Marc Larson. You’ll also have the chance to hear about what we’ve got planned for this year. So come catch up with some old friends and make a few new ones. We hope to see you there.

Members: Free

Guests: $20

RSVP Now!

The venue is in University Heights (between Madison Ave & Spalding Place), so all parking is street parking. Be sure to arrive early in case you have to hoof it a block or two.

MIDTERM PRESENTATION

November 2nd
You need to present your first three projects to the class in comp form. This presentation will include the design brief for each as well as a presentation of the project. So, if it's a packaging project, you are showing either a tight computer rendering model, or a tight, physical dummy.

Consumer Packaging Project

Mamma Chia
Redesign logo, label, website
www.mammachia.com

For health-conscious souls seeking an extra dose of vitality, Mamma Chia is the undeniable drink of choice. Infused with ancient wisdom and powered by one of the world’s healthiest whole foods, Mamma Chia provides sustained energy to power your soul’s purpose.

Mamma Chia pairs the highest quality organic chia seeds with delicious organic fruit juices and is lightly sweetened with a touch of organic agave nectar. The pleasing appearance of the chia seeds suspended throughout the beverage adds a compelling quality full of heart and brain-healthy omega-3s, powerful antioxidants and dietary fibers, as well as complete protein, calcium and magnesium. Combined, these nutrients create a vital force that delivers the power to live the life you’ve always wanted.

Cereal Box

Choose a existing box of cereal to redesign. Choose a style from design history (ie. Arts&Crafts, Dada, Cubism, Constructivism, Bauhaus, Contemporary Poster), or choose a designer to use as your inspiration!Check out these retro boxes!

http://trendland.net/100-cereal-box-design/#

Nice package: Six principles of good packaging design 

by Ben Chadler, Design Director

Landor

1. Simplicity

It’s a rare person who enjoys being in a supermarket—it’s often cold, crowded, and visually stressful. So any brand that keeps its message simple, without bombarding us with proclamations, may entice us to reach for it. Supermarket brands can learn from premium food companies such as Simon Johnson, which strips its narrative down to the essentials, creating calm on the shelf. Visually quieting the noise with a simple design is one way to help your product stand out.

2. Honesty

No one actually believes that all olive oil comes from some idyllic Tuscan farm, or that a loaf of bread is hand-kneaded by a German baker, despite what the packaging tells us. We all suspend our disbelief, knowing deep down that we are being ”spun.” A brand such as Another Bloody Water, however, speaks in a way that grabs our attention. The brand rises above the spin by giving its audience credit for being in on the joke, which instantly disarms us and makes us feel wiser for buying in. In a largely hyped-up or even dishonest environment truth can be revolutionary.

3. Personality

Packaging with a unique personality isn't just nice to have, it’s essential. It’s the fundamental difference between brand and private label, between emotion and function. Personality has the potential to show what’s unique about a brand, and yet this critical aspect is often ignored. Legibility, shelf shout, and flavour differentiation take precedence, leaving us with an overwhelming amount of boring messages. An unexpected feature—a clever twist in the logo or a little wit in the back-of-pack information—can change the way we relate to not only the product but also the brand. Handled creatively, personality can make it possible to actually like the ”person” that is a particular brand.

4. Practicality

Who hasn't been driven to the point of bad manners and near physical exhaustion with a stubborn blister pack? Or cursed aloud as a bag of rice grains exploded across the kitchen floor? Structural packaging that drives the user to frustration doesn’t exactly encourage repurchase or foster long-standing loyalty. On the other hand, innovations like pump spray balsamic vinegar bottles, ziplock resealable bags, and screw-cap wine bottles that demonstrate an understanding of our day-to-day experiences with a product often provide a tangible reason to appreciate the brand.

5. Sustainability

In the current environmentally conscious climate we feel guilty about throwing away a plastic bottle and recognise wastefulness when removing the third layer of wrapping from a new kitchen appliance. We welcome recyclable materials such as glass and paper, and are happy to have less material waste to throw in the bin. Refillable packaging is another way to reduce the amount of waste we produce. Reusable laundry liquid bottles and rice container refills provide a new sense of efficiency. In times past we left our milk bottles out for collection. Reuse is not exactly a new idea—it’s simply an old method with new values. Additionally, refillable packaging is not only efficient, it also maintains a visible brand presence in the pantry at home. Sustainable packaging provides a sense of satisfaction that comes from acting responsibly through our purchasing decisions.

6. Authenticity

New products and brands enter the market at a dizzying rate. Finding brands that have stayed true over time or remind us of lasting quality create a level of comfort and reassurance. Of course, well-established brands can draw on their heritage to deliver authenticity—brands like Coca-Cola with its familiar red-and-white logotype or Tiffany’s classic blue boxes. But authenticity can be true of modern brands as well. Aesop’s signature tinted brown bottles and a consistent two-colour aesthetic reflect its beautiful products. Brands that maintain integrity can foster a genuine feeling of value.

We tend to take well-designed packaging for granted—and in a way we should. Packaging should be effortless—consumers shouldn’t need instructions to open a box, and we shouldn’t have to think twice about throwing it into the recycling bin. If packaging requires minimal effort and leaves a positive impression, the relationship with a brand can be more meaningful and pleasurable. It can even earn a bit of appreciation.

St. John’s Bible Art Exhibition

The San Diego School of Christian Studies and First United Methodist Church of San Diego present 25 art print reproductions from the Saint John's Bible on display in the Trotter Chapel at First Church through October 30. The Saint John’s Bible is the first commissioned, hand-written, illuminated Bible in over 500 years. It is described as a Bible for the 21st century, America's Book of Kells, a work of art as well as one of theology. The exhibition will be open Saturdays from 10 a.m. to 4 p.m., Sundays from 9 a.m. to 2 p.m. and on weekdays by appointment.

First Church is featuring selected illuminations and their Scripture as part of Sunday worship in October. The San Diego School of Christian Studies is offering biblical studies, history and art classes in October and Novem- ber. See the complete schedule and list of events for First Church and San Diego School of Christian Studies at www.fumcsd.org/StJohnsBible.
First Church is located west of Texas Street in Mission Valley, 2111 Camino del Rio South (619) 297.4366.

The Saint John's Bible is a work of art and a work of theology. A team of artists coordinated by Donald Jackson in Wales and a team of scholars in Central Minnesota have brought together the ancient techniques of calligraphy and illumination with an ecumenical Christian approach to the Bible rooted in Benedictine spirituality. The result is a living document and a monumental achievement.

Back in the 1990s, Donald Jackson observed the monks of Saint John's Abbey processing with their Book of the Gospels for Sunday Mass, and he recognized the importance of "their book." To create a Bible that would capture the beauty and tradition of centuries of liturgy and carry it into the future—that is the vision that united a calligrapher in Wales with a group of Benedictine monks in Minnesota.

Explore this area of the web site for more on the history, vision, guiding principles and techniques that make The Saint John's Bible an epic work of art. http://www.saintjohnsbible.org/

An Independent Book Project

This could be a really fun portfolio project for those of you in need of a "publication" and have interest in furthering your understanding and comfort with typography.

1. Pick a subject, the example I'll use to demonstrate is based on a toothbrush.
2. Pick a style, of design; Russian Constructivism, The Bauhaus/Swiss, Modernism etc.
3. Research the subject, and the style although the project is not about the subject but about how to create an interesting visual language based on a "style."
3. Design an informational piece which about the subject using the style.

This project could be also expanded out and include packaging, website etc.


SEE SAMPLE IN CLASS.

AIGA LINK Looking for Mentors

The AIGA San Diego LINK Art Program is starting up for 2011-2012 and is looking for mentors. The program consists of workshops lead by local designers/illustrators/artists that allow the students to get a glimpse of what is possible in the arts. Watch this youtube video for details.

The workshops run between the months of October and March on Saturdays between 9:00 AM to 1:00 PM. If you are interested in mentoring, please arrive at 8:00 AM for the mentor orientation on Saturday, October 8, 2011. The program is located in the East Village near trolley and bus lines for easy access:

Space 4 Art/ 325 15th Street/ San Diego, CA 92101

We hope you can join us at the Orientation to see how you can make a difference! This year will be one of our best yet. If you would like to receive fliers to hand out please send an e-mail to: directorlink@aigasandiego.com /Sondra Lagnado AIGA LINK Art Program Director/Phone: 619.565.6337/ aigalinksd.org

AIGA Student Group Meeting

Friday September 30 3:30-4:00 Keller 101

design be John Castillo

UPDATED SCHEDULE

Pantone Promotional Poster Defined

Pantone Poster Series
Project Objective: Create a series of promotional posters for PANTONE. Pantone is a company that develops ink and color matching systems so that designers (interior, graphic, web) can match colors across platforms. I think it is interesting that their newest product is digital. Pantone Matching System = PMS colors.

www.pantone.com
http://www.pantone.com/pages/ptv/ptv_clips.aspx

CSR Defined

Corporate Social Responsibility (CSR, also called corporate conscience, corporate citizenship, social performance, or sustainable responsible business)[1] is a form of corporate self-regulation integrated into a business model. CSR policy functions as a built-in, self-regulating mechanism whereby business monitors and ensures its active compliance with the spirit of the law, ethical standards, and international norms. 
The goal of CSR is to embrace responsibility for the company's actions and encourage a positive impact through its activities on the environment, consumers, employees, communities, stakeholders and all other members of the public sphere. Furthermore, CSR-focused businesses would proactively promote the public interest (PI) by encouraging community growth and development, and voluntarily eliminating practices that harm the public sphere, regardless of legality. 
CSR is the deliberate inclusion of PI into corporate decision-making, that is the core business of the company or firm, and the honouring of a triple bottom line: people, planet, profit. The term "corporate social responsibility" came in to common use in the late 1960s and early 1970s, after many multinational corporations formed. The term stakeholder, meaning those on whom an organization's activities have an impact, was used to describe corporate owners beyond shareholders as a result of an influential book by R. Edward Freeman, Strategic management: a stakeholder approach in 1984. [2] Proponents argue that corporations make more long term profits by operating with a perspective, while critics argue that CSR distracts from the economic role of businesses. Others argue CSR is merely window-dressing, or an attempt to pre-empt the role of governments as a watchdog over powerful multinational corporations. CSR is titled to aid an organization's mission as well as a guide to what the company stands for and will uphold to its consumers. 
Development business ethics is one of the forms of applied ethics that examines ethical principles and moral or ethical problems that can arise in a business environment. ISO 26000 is the recognized international standard for CSR (currently a Draft International Standard). Public sector organizations (the United Nations for example) adhere to the triple bottom line (TBL). It is widely accepted that CSR adheres to similar principles but with no formal act of legislation. The UN has developed the Principles for Responsible Investment as guidelines for investing entities.
EXAMPLES
http://www.thehersheycompany.com/social-responsibility/csr-report.aspx

http://www.starbucks.com/responsibility/learn-more/goals-and-progress

http://www.sony.net/SonyInfo/csr/issues/report/2010/pdf/CSR2010E_all.pdf

I Commit to the Process

Commitment Contract

This is not a dress rehearsal. Your life is here. You must demonstrate standards of business sophistication and aesthetic savvy. To have a successful career-talent alone is not enough. You must have passion, ambition and commitment to want to do your personal best. You must be informed about your chosen career and the world at large. The portfolio is the most important expression of who you are and what you want to be. It is the visual expression and psychological shorthand that must tell your unique story. What you are making is the visual embodiment of you. 

Portfolio is the single most anxiety producing element and the most critical part of your job search. I encourage you, if possible this year to focus on this effort, try not to take on outside jobs, volunteer for anything else!  ARE YOU READY TO STEP UP TO THE PLATE?

__I agree to join and participate in the AIGA/San Diego Chapter PLNU Student Group

__I agree to commit at least 15-20 hours per week to this class

__I agree to have a collaborative, open minded attitude

__I look forward to working in and with a team

__I promise not to create projects without input and support of the team

__I will attend all regular class meetings as well as any additional field trips and meet outside class with my team or buddy

__I will read 5-10 current Graphic Design and Business Magazines

__Print, How, Step, Communication Arts, Harvard Biz Review, Fast Company

__I will contribute to the class blog weekly

__I will put in a 100%+ effort into the class, no excuses, no whining, no complaining, just an all out effort!

Phase III: Portfolio Building

Phase III: Portfolio Building

• Creative Briefs for Projects (logos included)

• Portfolio Grid, Size, Format, Layout established

• Logos 1-10

• Projects 1-6

Phase II: Personal Identity

Phase II: Personal Identity

• Brand You Personalty Board

• Logo

• Stationery

• Portfolio Theme/Look

• Portfolio Table of Contents

Portfolio Map

Once you have gone through the work review process with me individually, we will make a list for you to chart onto the "PORTFOLIO MAP." This tool will assist you in organizing your work flow, manage the types of projects you have represented and give you an "at a glance" view of the work ahead!

Portfolio Requirements

Portfolio Requirements

Use this as a guide to consider the type of work your portfolio might include:

1. Brand Identity System

2. Publication Design

       Newsletters

       Catalogs

       Magazines

       Annual Reports

       Brochures

       Identity Manuals 

3. Designer as Entrepreneur

4. Product & Packaging

5. Cause Marketing

6 Logos(10)

TO BE INCLUDED:

Environmental Graphic Design (EGD)

Signage, Exhibit

Website

Motion GraphicsStationery Packages

Ads, Direct Mail, Billboards Campaign

Illustrations

Photography

Posters

Self Promotional Pieces

Business Forms

T Shirts

Menus

Book Jackets

Identity Manuals

Maps

Labels, Hang Tags

Postcards

Stamps

Currency

Flow Charts And Mind Maps

Drawings And Journals

Process Work

Design Briefs

Strong Typography