Monday, April 26, 2010

Project Four :: Poster and CSS

Monday, 26 April

in class

  • CSS Demo 2
  • desk crit


  • poster poster poster. iterate, don't procrastinate.
    print out a full-sized, tiled, black and white version of the best one for class crit Friday.
  • CSS hierarchy exercises. Do them, upload them.

Project Four :: CSS Hierarchy exercises

Create another series of hierarchy exercises with your design lecture text in Dreamweaver. Choose a typeface from the online list (
) that you believe appropriate for your designer and fits harmoniously with your previous exercises.

Using positioning and styling, only through alteration of the appropriate CSS styles, and attempt to emphasize the important information and de-emphasize secondary information.

Use the CSS file we created together to get started. "Save as" 15 times to create all the CSS files you will need.

They should be named EXACTLY like this:


You can always start over by downloading the original files.

The index.html page inside "type2/hierarchy" folders from our demo will be the content for all compositions, put your designer's info there..

Create 15 different compositions, freely choosing from the previous hierarchy exercise requirements and compositions as a guide. You cannot rotate type in the internets. Have them ready for our next class meeting.

p.s. As demonstrated in class, while designing, you can change the last CSS file link to keep your current design visible in Dreamweaver. When done, they should be set back to "01".

Monday, April 19, 2010

Project Four :: Poster and Press

Monday, 19 April

in class

  • progress desks crit
  • presentations!


  • develop 3 of your poster directions based on today's feedback: pin color printouts on wall for group crit on Friday
  • pick one of your hierarchy exercises and recreate with letterpress. You will need to pick your design carefully, consider the following:
    1. Make sure the design you pick has a similar typeface and sizes available in the type shop (big dramatic scale change won't be feasible)
    2. No crazy angles
    3. You will get better results using black ink

Projet Four :: Content for posters

Please come up with a title for the lecture based on what you now know about your designer. Here are the typographic elements for the poster:

Paul Rand (your designer here)
Design is Art, Art is Design (your title here)
Free lecture
April 27, 2009
Epperson Auditorium, Vanderslice Hall
Kansas City Art Institute
4415 Warwick Boulevard (your designer url here)

Friday, April 16, 2010

Great Flickr set of graphic design history images

Project Four :: Axial Hierarchy exercises

Create 25 more exercises exploring type placement along different axial systems. Within these new compositions, freely mix and use the previous text styling requirements as you wish. Create five each of the following examples of axial alignment. Your axis lines are for orientation only, do not include them in the compositions. Draw your axis lines and put them on a separate locked layer for reference.

1. Single axis: use one imaginary line as your axis, align text extending in both directions
2. Angled axis: use one vertical and one angled axis as alignment guides.
3. Multiple vertical axes: use more than 2 axes
4. Crossed axis: cross two axis lines at 90 degrees, angle and placement of lines are up to you
5. Free axis: Pick your own axis and orientation to use as an alignment guide.

Create a PDF of your InDesign exercises and put on the CAS server before class on Monday.

Project Four :: Print Poster 24 x 36

The first element in our lecture announcement materials will be a 24 x 36 inch vertical poster.

Using your strongest exercises as sketches, integrate an image of Vanderslice to your compositions. How can the choice of image presentation make a statement about your designer’s work? What would their point of view be for the image? Would they focus on the interior or exterior? Would they treat it graphically, illustratively, or photographically, or a mixture? What techniques can you apply to your image to elevate it beyond it original photographic nature.

Consider color: How does your designer deal with color? How can you use your color theory to create striking type/image contrast or complements? Keep in mind that introducing an image into the mix will alter your type compositions.

Consider type: How does your designer deal with typography? Change typeface and composition from the initial exercises as you see fit.

Bring 5 ideas, scaled to fit on an 8.5 x 11 page and printed out in color, to our next class.

Monday, April 12, 2010

Project Four :: Hierarchy Bench Presses & Squats

Monday, 12 April

in class
  • studio time
  • letterpress demo
  • presentations
  • hierarchy exercises

Create a series of compositions with your design lecture text in InDesign. Choose a typeface from the usual suspects that you believe appropriate for your designer. Using the parameters below, attempt to emphasize the important information and de-emphasize secondary information. In InDesign make a 5" x 8" vertical document (turn off “Facing pages” in the initial new document window). Using this document for all, create 5 different versions of each requirement below, for a total of 30. Create them in order, that's an order.

1. Leading (vertical relationships): Using one text size with a right reading, flush left, ragged right alignment, explore hierarchy through adjustment of the vertical space between lines of text (leading). Choose the left edge where the text begins and keep that same placement through all 5 compositions.

2. Indent
(horizontal relationships): Using one text size and leading with a right reading, flush left, ragged right alignment, explore hierarchy only through indentation of text using “tabs”. Choose the top edge (y-axis) where the text begins and keep that same placement through all 5 compositions.

3. Weight/Style
Using one text size, explore hierarchy through the use of bold, italic (oblique) or roman (normal) styling. You can freely apply leading and indent throughout the compositions.

4. Scale
Use three type sizes to explore hierarchy. You can freely apply leading and indent throughout the compositions.

5. Orientation
Using one type size and leading, break up your text into logical blocks of information so that each is in its own text box. Rotate and freely position your text boxes to create hierarchy. Retain the same type size through all 5 compositions.

6. Freestylin'
Explore all of the above parameters at your discretion.

Create a PDF of your InDesign exercises and put on the CAS server before class on Friday.

Friday, April 9, 2010

Project Four :: Student Designer Pairings

Here's your designers!

Bryan Baumgart      Massimo Vignelli
Brad Deal           Herbert Matter
Keaton Reeder       Martin Venesky
Joseph Shopen       Tibor Kalman
Ian Spaeth          Alvin Lustig
Raynaldo Alvarez    Gert Dumbar
Ben Hlavacek        Wolfgang Weingart
Brandon Lyon        Bradbury Thompson

Kelsey Anderson     Muriel Cooper
Loren Cook          April Greiman
Bethany Ediger      Marian Bantjes
Janna Johnsrud      Deborah Sussman
Vi Pham             Paula Scher
Taylor Pruitt       Gail Anderson 
Julie Sikonski      Sheila Levrant de Bretteville
Karen Villalba      Louise Fili

Project Four :: Design Lecture Campaign

Explore typographic and graphic hierarchy through the design of a number materials announcing a hypothetical design lecture at KCAI.

  • Explore typographic and graphic hierarchy
  • Apply a graphic direction across a range of materials and media
  • Investigate the process and work of a designer to inform and inspire your own work
Research & Presentation
Research your designer in the library and online, collecting images representative of their work, quotes (from the designer or others) representative of their ideology, philosophy and influence as well as historical, biographical information. Make sure to take notes. Develop an understanding of why they are well-known or respected so you can share that information with the rest of class. You will need also enough content to use in our design materials.

After you've done your research, go to Vanderslice Hall and photograph it from your designer’s perspective: How would they look through the lens? What would be important to them to illuminate: inside or outside, detail/micro or aggregate/macro, somewhere in between, or both? The lecture will be taking hypothetical place in Epperson Auditorium.

Assemble your research and photos into a presentation to give to the whole class. This will be projected, and you will talk us through your research to give us a picture of your designer. You can use a number of tools, Keynote or PowerPoint are both good presentation software tools, if you don't have access to these, simply lay out your presentation on a horizontal letter format in InDesign and export to PDF. "Command" + "L" after opening your PDF will give you a full screen mode. Put your photos at the end of the presentaiton and tell us why you shot what you did.

Put your presentations in my drop box before the start of class Friday, we will present from my laptop.

Name your files like this:

Presentation guidelines
  • do make your presentation 5-7 minutes long
  • don't "over" design the presentation
  • do layout your presentation in a simple and clear manner
  • don't overload your pages with too much text (the text on a presentation should not be text for you to read directly from)
  • do put concise main points on screen to guide the audience
  • don't put too many images on one screen, we only focus on 1 thing at a time.
  • do use notes to keep you on track (you can keep your notes active on the laptop screen while the audience views the presentation on the projector)
  • do practice your presentation before coming to class

Monday, April 5, 2010

Project Three :: Combo Class Crit

Type & Viscom / Friday, 5 April / 8am / Bodoni & Clarendon

Have one color copy hung on the wall in EITHER Clarendon or Bodoni before 8am on Friday. Make sure you hang them horizontally and space them nicely around the two rooms. It doesn't matter which room you hang in, mix those sections up!

Also, have 2 mocked-up color copies to pass around during crit.

Considerations for summarizing your spreads:
How does hierarchy, image choice, typography, color, etc. support the content or themes of your articles. Are you weaving multiple narratives through the spreads? How? How did you utilize the grid to help guide the reader through the content?

You will have until one week after crit to make any revisions and turn in a final magazine mock up on good quality paper. Also, place a packaged InDesign folder and a PDF of your final spreads to my dropbox on CAS.

Friday, April 2, 2010

Project Three :: Schedule

Friday, 2 April

in class

Have one color version of your mag layout printed and trimmed, on the wall at the start of class.

Here's the remaining schedule for the magazines:

F Apr  2 :: Work day
M Apr  5 :Progress crit/Work day
F Apr  9 :Combined class crit with VisCom
M Apr 12 :Final projects due/New project start

Monday, March 22, 2010

Project Three :: Format and Grid

Monday, 22 March

in class
  • format & grid discussion
  • InDesign demo
  • set up a basic grid and layout in InDesign:
    1. use placeholder text and set title, subhead and body styles
    2. let text flow interconnected through the 6 pages
    3. create 3 versions of the document, altering type sizes and leading in each
    4. print out and discuss

  • pick a format for your magazine
  • bring 3 different article layouts to our next class:
    1. set with your article text, black on white
    2. use text only, and, use gray boxes to denote image and diagram content
    3. use all styles from the hand out
    4. print out and trim
    5. tape spreads together (on the back!)

Friday, March 12, 2010

Project Three :: Magazine Spreads

Project Description
Explore the grid, hierarchy, composition and the control of complex elements through the design of a 3 spread (6 individual pages) magazine article. Your content will be a found article relating to your icon systems project. The title of the article can be your icon systems name or a name of your choice. The title of the magazine is your choice. You will be developing diagrams in VisCom that will also appear in the design of your magazine spreads.

Spring Break: Content Research
Using your icon subject matter and theme, find existing magazine articles or book essays (or online articles) about both/either:

  1. a specific theme within your icon set (a subset or micro view, i.e. the culture of heroin addiction or disease carrying microbes found in motel pillows) or, 
  2. about the icon system content from a general perspective (macro view, i.e. addiction treatment strategies in the western world or worldwide health and cleanliness standards in the hotel industry).

While searching consider separate threads of information that may be useful in the article. By that I mean an article can contain a main text as well as a subtext running through it. Also consider the breakdown of information within the article, among many elements, you will be required to use subheads in your version, and these can be self-authored to support your theme and icon system name.

Also gather images that relate to or support the article content. You should already have a wealth of material to use from your earlier icon set research.

Spring Break: Form Research

Find and purchase a magazine, content is irrelevant, but, its design must inspire you in some way. Is the layout beautiful, elegant, ugly, bold, rigid, chaotic? The magazine should not be a "picture-book" or textless, we are looking for text and image, happily cohabitating.

Draw the underlying grid structure in a multi-spread article from your found magazine. You draw on top of a photocopy of your article or on transparency overlays. Define the page edges, margins, columns, rows and gutters. Include both left and right pages as a single spread. On a second sheet try to define the content elements of the article, including headlines, intro, pull quotes, sidebars, captions, subheads, body copy, folios, graphic elements & images.

Bring all materials to our first class after spring break.

Read Ellen Lupton’s Grid chapter, and look at: Josef Mueller-Brockman, Emil Ruder, Ladislav Sutnar, Karl Gerstner. For rule breakers see David Carson, Martin Venesky, Rudy Vanderlans. Magazines: Good, Monocle, Time, Eye, Emigre (library only, out of print), Portfolio (online only, out of print), zines, Rolling Stone, Wired, etc. etc. Barnes and Noble has a huge magazine section.

Project Three :: Structural Components

Structural Components of Editorial Design
  • page – the single unit of editorial design
  • double page spread – two single pages side-by-side are the main and most important compositional element of editorial design. All grid building and layout is looked at through this lens.
  • grid – the invisible architecture of the double page spread
  • margins – the free space reserved at the top, bottom, outside and inside of a double page spread (top, bottom, left, right of a single page). In general, enough space should be reserved to make reading comfortable.
  • columns – the vertical units of a page used to define where elements are positioned. Columns can be any number and are often between 2 and 12.
  • rows – the horizontal units of a page used to define where elements are positioned. Rows are not automatically definable in InDesign but can be simply set with guides on your Master Pages.
  • gutters – the space between columns. Gutters should have enough width to help define text columns and not hinder legibility (they should not be so close that you skip across the gutter while reading).
  • baseline grid – a series of evenly spaced horizontal lines which determine where the baselines of text, as well as other elements, can be positioned. The leading of all typographic elements is usually a either the same amount, a multiple, or a division of the baseline grid which helps give visual structure to the overall grid.
  • folio – the area where page numbers and publication title are positioned.
  • Folios are often outside or below the perimeters of the article’s design (i.e. somewhere in the outside margin).
  • bleed area – the space outside of the edges of the double page spread reserved for overflow of artwork
  • slug area – the space outside of page and bleed edges reserved for file and technical information for production

Project Three :: Magazine Content Components

Content Components of Editorial Design, in usual order of hierarchy

  • headline – title of the article
  • image: photos, illustrations, icons – images which support and supplement the reading experience
  • intro/deck/kicker/standfirst – initial summary of the article, called out hierarchically to be read while visually scanning the page. A bridge between headline and text
  • pull quotes/breakouts/callouts – information pulled and duplicated from the main article text, set in a way to visually punctuate the rhythm of the spread and orient the reader
  • panels/box copy/sidebars – these hold information that relates, but is not essential, to the content and ideas of the main text. These subtext areas hold lists of pertinent information, interviews, info graphics, etc. to give the reader another perspective on the content, enrich the reading experience.
  • information graphics – see above
  • captions – image descriptors that act as a bridge between image and main text
  • subheads – subheads break up the main text into logical sections
  • text/body copy – the main content of the article which all other elements work to support and illuminate
  • folios/footlines – folios usually contain the page number and publication title but can also have section or chapter titles. They do not necessarily (and most often do not) appear on every page of a publication and will be removed where full-bleed art is used. They will sometimes appear only on right-hand pages
  • graphic elements – lines, textures, color bars or background images that help define, shape or highlight the construction of a spread and can lend mood or tone to the article

Monday, March 8, 2010

Poster Footer Replacement

Replace the footer in your posters with this new and improved footer:

Project Two :: Progress Crit Mon / Final Crit Friday

Monday, 8 March

in class

  • typeface lecture
  • progress crit
  • studio

homework: Final Crit Friday
Billboard in the environment: find a high quality image of a billboard to use for your photomontage. Try to integrate your art as seamlessly as possible into the image, try to match the lighting and quality as closely as possible.

Have all materials refined and mounted on black boards on the wall, and the final .swf in my drop box for final crit. One board can show interstitial storyboard, one buses, one billboards. How will you best present your applications, one per board, horizontal or vertical? Design the layout of the presentation itself. 18" x 24" boards will be large enough for our purposes.

Make a post on your blog summarizing the project. Consider the emotional versus the informational impact of the content. What were the challenges in creating expressive compositions that fit together formally, but expressed their individual phenomena dramatically? What were the challenges in applying the compositions to the applications? What defines the "system" across your applications? How did you balance the hierarchy of elements?

Monday, March 1, 2010

Project Two :: Progress!

Monday, 1 March

in class
  • progress crit
  • lecture Garamond & Bodoni
  • studio time

  • develop:
    1. buses and billboards based on crit
    2. storyboard and make your first interstitial attempt
  • hang progress and place .swf files on my CAS berfore the start of class

Friday, February 26, 2010

Project Two :: Progress

Friday, 26 February

in class
  • campaign idea discussion
  • studio

  • develop billboard and bus directions for progress crit on Monday
  • hang significant work on wall (but bring all with you) before class begins

Monday, February 22, 2010

Projekt Two :: Applications

Monday, 22 February

in class

  • quick crit expressive type
  • photoshoppery
  • studio


  • refine and combine your series of expressive compositions
  • start applying your work in a campaign (see below)

Take your composition series and apply them to a news channel ad campaign.
The following media will be explored:
Work at a realistic scale in Illustrator:
Billboards 1:40
Bus 1:40
Interstitial 1:1 (640 * 480 pixels)

Your first steps will be to pick a station (CNN, NBC, ABC, CBS) and create the campaign text. Based on your word choices, the subject can be either "weather reporting" or "24 hour news coverage". Come up with a short, memorable tagline.

Campaign content should include:
  • Compositions
  • Station logo and descriptor (CNN Weather or CNN News)
  • Ad message / tagline
  • optional: Channel number (i.e. "Channel 164")
  • optional: time, i.e. "Every hour on the hour." or "5:20am / 6:20am / 7:20am"
Television interstitial content should include:
  • Compositions
  • Station logo and descriptor (CNN Weather or CNN News)
  • Ad message/tagline

  • Intergrating text and graphics into the compositions
    Take your content and try to integrate it with your compositions. How will you do this and keep the main information legible? You can split your frame, overlay bands of color, feather and fade, etc. to create legible space for logo and text. You could also try to integrate directly into the compositions, but that would be tough to pull off. With heavy image and little content, Illustrator and Photoshop should be you main tools for the ads, Flash for the interstitial.

  • Making content legible for your format
    Billboards, buses and interstitials are all QUICK-READ formats. The viewer only gets a few seconds to understand the information. How do you ensure the station identity and main text are LEGIBLE and MEMORABLE.

  • Creating narrative
    Billboards & Buses: do you integrate all your compositions in the format or only one? How about 4 successive billboards or 4 different busses? That would extend the narrative for the audience. All 4 could nicely wrap around a bus for a compelling narrative.
    Interstitial: What is the order of reveal for your compositions? Try to make the order sensible. How do they transistion from one to the other?

Friday, February 19, 2010

Project Two :: More Experimentation

Friday, 19 February

in class

  • look at some expressive typography
  • look at your expressive typography
  • make some expressive typography


  • keep making expressive typography, bring all to experiments to class
  • from all your experiments, create a harmonic series of 4 compositions that fit well together, hang these four up together on Monday
  • post found example/s of expressive typography to our Find & Share post

Monday, February 15, 2010

Project Two :: Experimentation

Monday 15 February

In a series of typographic compositions, communicate 4 separate weather phenomena. From the supplied list, choose 4 of the weather phenomena and (at least) 6 supplemental words that describe the weather pattern from their respective thesaurus entries. Your descriptive choices can be single words, phrases, or series of words. Try to pick 4 phenomena that form an interesting narrative, i.e.: CLOUDY/LIGHTNING/THUNDER/RAIN.

Using the words as a descriptive “poem,” create experiments that communicate the action of your chosen word. No images can be used, only typography. What you do with that typography is OPEN, very OPEN. Experiment with your type, print it, cut it, xerox it, repeat it, illuminate it, project it, paint it or paint with it, make it out of mud, out of ketchup, etc., etc. Try not to “draw” literal pictures with your typography, but work semi-abstractly. As a well known (to you at least) professor (yours) once said (just now), “Why be literal when you can be abstract and have MO’ IMPACT!?” Attempt to create a rich, interpretive experience and have fun! That’s a command.

Set the words you will be using in Illustrator or InDesign and print them out. Work with your printouts in experimental ways and work with digital type in in Illustrator and Photoshop. Try out insane physical alterations of your type. Cut up the words, shine light through them, rephotograph them, rearrange them, repeat them, drag, squiggle and shift them across the copy machine as it copies. Make your weather phenomena word stand out in some manner from the descriptive terms. The main word should have the most dominance hierarchically. Please choose typefaces with care, they should emphasize and support the weather ideas. Does Univers 39 look like rain? Does Chaparral look like raindrops?

Create a series of word-manipulation experiments. Initial experiments should fit on an 11" x 17" page, black and white. Bleed (work beyond the barriers of the format) your compositions, it will be important for the secondary stage of this project. On Friday, bring 3 versions of each, for a total of 12 comps.
Copy, scan or mask your compositions (dependent on your media and process) and present as shown in the attached sheet, no mounting. Keep originals with bleed for next steps.

Project Two :: Expressive Typography

Create a campaign for a television news station. Our subject matter is weather. You will apply experimental typography along with station identity and other information to billboards, bus wrap-around ads, and television interstitials.


* Investigate typography’s ability to communicate in expressive ways
* Create emotive typography that tells multi-layered stories
* Create typography that communicates visually AND verbally
* Explore “simultaneity” of visual phenomena through overlapping & transparency
* Experiment with analog and digital methods of altering typography
* Integrate experimental form making in practical applications
* Work fluidly across a range of media

Considerations, research ideas
How can typography look like rain? How can typography be parched? How can a word appear foggy? Inspiration: Apollinaire, Peter Cho, David Carson, typophoto, Laszlo Moholy-nagy, Wolfgang Weingart, Ralph Schraivogel, F.T. Marinetti and Futurism, dada, Martin Venesky, Sagmeister...

Project One :: Finalizing your poster

in class

  • photoshoppery
  • introduce new project
  • finish your poster, submit your poster

Entry guidelines can be found here:


  • see new project posts

Monday, February 8, 2010

Project One :: Refinements

Mondy 8 February

in class

  • demo: accessing your subdomain, uploading files
  • discuss revisions since crit
  • studio time


  • refine your best direction/directions
  • bring tiled, full color version of your best to next class

Friday, February 5, 2010

Project One :: Major Revisions

Friday 5 February

in class

  • with Epp: discuss directions and ways of image representation and how to present this afternoon
  • present poster for critique with Steve Frykholm


  • revise directions based on feedback from Steve, me, and anyone else in the room for critique
  • post revisions to your blog and place on the wall before the start of class Monday. I expect iterations, scale change, experimentation with how your type and image interact and tell a story
  • write a post on your blog about Design Process by Philip Meggs. Did this reading chage your viewpoint on the design process? How do you think the process your are developing at school compares to the process Meggs lays out? Do you think this will be applicable in the working world when you get out there and start designin' for pay?

Monday, February 1, 2010

Project One :: Design Process

Monday 1 February

in class

  • discuss directions and ways of image representation
  • studio time


  • if you haven't gathered a mountain of info and images on and about your theme, do it
  • read Design Process, from Type & Image by Phillip Meggs
  • design, design, design
  • bring black and white printouts of your directions, and 1 color printout of your best direction/version to discuss with Steve Frykholm from Herman Miller!

Saturday, January 30, 2010

Friday, January 29, 2010

Project One :: Type, Image, Message

Friday 29 January

in class

  • presentation and discussion of topics
  • checkin' out posters with epp
  • studio time 


  • read type, image, message. please make a post on your blog about this reading:
    did the reading change how you thought about the combination of type and image? how?
    how could you apply the ideas of separation, fusion, fragmentation and inversion to your design process, and in particular, to this project?
  • develop 3 design directions of your chosen theme
  • bring b&w 11x17 inch versions to our next class

Monday, January 25, 2010

Project One :: Change One Thing Poster

Design a poster for the AIGA Blue Ridge Poster Clash Competition.

Using the given statement, "Change One Thing", communicate something you find significant or important to a general audience in poster format. The subject matter is of your choice. Can you, through the combination of type and image, engage, effect change, or spark interest, in a general audience? Finalize and submit your poster for consideration in competition.

from the aiga blue ridge site:
"Concept: Change One Thing. From the simplest action of changing to compact florescent bulbs, to more in-depth changes such as political parties and life habits, motivating change in visual communication is one of the most basic and fulfilling aspects of the communication profession."

  • Research a specific topic that's important to you
  • Make typeface choices appropriate to subject and goals
  • Create formal dialogue and hierarchy between type and image that supports the content and goals of your poster
  • Deepen your understanding of how type and image work together in communication
  • Explore the physical levels of legibility (considering changing proximity) important to poster design
  • Administer, store and present your work on your own online space
  • Achieve fame and glory in competition

format: 18" x 24"
color: up to you
content: OPTIONAL use "Change One Thing" as your main headline

Monday 01/25
in class
  • class overview, syllabus
  • type and image presentation
  • project description, discussion, brainstorming, thumbnailing

  • develop 3 different ideas for your poster
  • create 15 sketches for each idea
  • research your idea, gather images
  • informally present your topic and sketches to the class (roundtable)

Friday, January 22, 2010

About Typography 2

Typography 2 is an in-depth examination of the principles of typography with emphasis on typographic composition. We will investigate the role that typography plays in shaping the form and content of communication. Through a series of studio exercises that introduce letterforms and text in relation to images, texture, color, hierarchy and grid structures, students will explore a variety of design problems and build skills in communicating visual meaning.

course objectives
  • Understand at a basic level the semantics of typographic messages
  • Utilize comprehensive typographic vocabulary
  • Investigate analog & digital design methods and find connections between
  • Appreciate the rich history of typography
  • Utilize historical & contemporary design to inspire your own work

course structure
  • Four projects (time and weather permitting)
  • Quizzes on typefaces, terminology, reading, lectures, etc
  • Assigned readings from required, recommended, on-line, or reserve texts
  • Process blog reviews at the end of each project.
  • Final Review

About this blog and your blog and your process

Class Blog
All project requirements and descriptions will be posted on this blog. I will endeavor to regularly upload presentations and show & tell in the sidebar as usual. Please continue to post to find + share as you did to great effect in Type 1.

Your Blog
This semester I will only be requiring you to keep your process updated on your blog, not in process books. The blog is what I will be looking at to track how you are following along in class and the blog will be graded at the end of every project.

Nonetheless, we will be generating A LOT of handmade investigations and the usual piles of iterations throughout the semester, so keeping a binder, or some other appropriate container, will be to your advantage.

Your blog should be the same one from last semester. You will be tracking Type 2, VisCom 2, and, Image. It will be an invaluable document of your time at KCAI and your development as a designer. Label anything relating to class with "Type 2" and "Project name" as I name it in the initial project post.