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  Design Outside Module Spring 2022  




B A C K G R O U N D
Influencing visitors to engage in responsible recreation is a persistent need for park and protected area managers. Whether encouraging visitors to stay on trails, keep an appropriate distance from wildlife, or engage in other Leave No Trace behaviors, effective in situ communication to visitors proves essential.

Therefore, the design of messaging is critical in influencing behavior. In the case of signage, this is determined by: 1) how well the visual quality and content of the graphics capture visitors’ attention, 2) how effectively the messaging targets visitors’ attitudes and values, and 3) where the messaging is deployed.

However, the relationship between these three factors in encouraging responsible outdoor recreation remains unexplored, leaving managers without critical data regarding how to design and deploy effective signage for use in parks and protected areas.

How might we design and test LEAVE NO TRACE signage using
research-based visual communication and OUTDOOR RECREATION messaging principles?


D E L I V E R A B L E S

  • A suite of research-based, professionally designed& produced graphics and signage focused on a Leave No Trace-related management issue selected by the City of Missoula Parks.

  • An onsite a ssessment of signage effectiveness in influencing visitor behavior

  • A report detailing the findings of the onsite assessment, including specific guidance for the development of visually-engaging and effective signage

  • Development of visually-engaging and effective signage templates for dissemination to state/national parks across the country


S C H E D U L E


WED 2/23
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Meet briefly to set up project.

Journey Maps & Mining for “Signs” also Empathy Maps

Homework:
Generate wordlists and mind mapping about hiking, dog-walking, trails...


MON 2/28
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UM students provide/present first drafts of the messages & design briefs to KU graphic design students.

Talk about Sign/Wayside/Poster Design/Visual Rhetorics Presentation
“Making Meaning” presentation just in case your are interested.

Homework:
Intial Ideas & Sketches (3-5 different concepts for each brief)


WED 3/02
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Pin up for Round One: Sketches for initial review by class & Jeremy.
Worktime

Homework:
Post intial ideas to Padlet for UM students to see and give feedback


MON 3/07
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Pin up Round Two: Printed Comps for review by class & Jeremy. On 11x17 paper is fine. Choose two messages to communicate. Could be 2 dog messages, 2 boot messages or a mix. Try a couple versions of each so you can play around with type and image.

Homework:
Refinements based on feedback


WED 3/09
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No Class in-person. Please post your refinements to Round Two: Rough Comps on MURAL by 5pm for UM students/project partners for feedback. Make a short slide deck walking them through your two poster concepts. (might show some process or rationale to help give context)

Homework:
Refinements based on feedback. Create Round Three: Refined Prototypes


 March 14 & 16  NO CLASS SPRING BREAK 


MON 3/21
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Optional Worktime and Individual Crits with Jeremy. I will be online and in-studio for one-on-one crits.


WED 3/23
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KU graphic design students present Round Three: Refined Prototypes to UM students

Homework:
Refinements to two final posters based on feedback.


MON 3/28
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Last check in with UM students for final feedback.

Homework:
Refinements based on feedback.

Create Round Four: Final Prototypes.
Please print both posters full-size 18x24in with a half inch border to use to pin it up.
Save final PDFs to Google Drive


WED 3/30
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Pin up final prints and begin next module with Sam.

Welcome to ADS 560: Wilcox Museum Rebrand. 
SYLLABUS | DRIVE | MURAL | PADLET

The Wilcox Museum was dedicated in 1888 as the Classical Museum of the University of Kansas. In creating the Classical Museum, Professor Alexander Wilcox had the goal in mind of exposing students and Kansans alike to the ancient Greek and Roman. It is operated by KU’s Department of Classics, and displays plaster casts of famous Greek and Roman sculptures as well as a wide range of ancient objects and artifacts from the ancient Mediterranean region.
The Museum is located in Lippincott Hall.

This is not a class as much as this is a project. As a group of Graphic Design and Museum Studies students we will ask… How might we re-design the Wilcox Classical Museum brand identity to more accurately express its missional goals while engaging a broader audience?

THIS SEMESTER WE WILL DESIGN THE FOLLOWING:

- new logo & wordmark
- brand guidelines 
- typographic signage for their exhibits
- web design
- and promotional graphics

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Schedule (subject to change based on class progress)
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MON FEB 01

Intro to Class & Expectations
Review online tools we will use

Assignment #1: Scan Designing Brand Identity PDF by Alina Wheeler
& familiarize yourself with this Wilcox Informational Packet.

Listen: Steps to Design a Brand Identity, LogoGeek Podcast


At 10:30am we will be meeting with Chad Kraus’ ARCH 509 Studio.
to go over goals, history & background on the project. I posted the Zoom Link in Chat. 

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WED FEB 03

Meeting with Phil Stinson at 10am, Associate Professor of Classics, Curator of the Wilcox and their team. 

Assignment #2: Brand Audit (How do we model “What is?”)
-existing visual identity (GRACE S, is there any archive)
-existing museum visual identities (BHROOVI, SARA precedent)
-core messages/voice (LARAMIE, what do they say web, facebook...)
-stakeholders (LONDYN, who is going to interact with this, how)
-mission and goals (HADLEY, who do they say they are..)
-competitive landscape (TAYLIN, SIERRA what other Classical Museums?)
-positioning (RAEGAN, how is Wilcox different? campus, in state...)
-current audience perception (GRACE G, where can we find this?)
-internal perceptions and views (who should we talk to?)

For reference AUDIT & GRAPHING and BRAND MIND SPACE.





Read: Marty Neumeier. Zag | | zag.pdf

Read Thomas Gad. 4-D Branding: Cracking the Corporate Code of the Networked Economy. Prentice Hall, 2001| 4D_BRANDING.pdf. Especially the “Discovering New Dimensions” section.

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MON FEB 08

Check in on Assignment #1: Brand Audit

Demo Tools to Visualize our Audits:
The Brand Mind Space, Zag Diagram & Graphing



For Reference:
Watch Simon Canadian Dude Talk about a Brand’s Why?

Here’s a nice resource on the Importance of a Brand’s Why
by 2008 KU Viscom Alum, Spencer Branham.
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WED FEB 10

Review Assignment #1: Audit
PRESENTATION:
“Narrowing the Focus” the Brand Code or “Big Idea”

Assign Assignment #2: The Brand Code

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MON FEB 15
FIELD TRIP:
Visit the Wilcox Museum in Lippincott Hall (Postponed due to weather)

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WED FEB 18

Check ins on MURAL work-to-date and visits with KU Classics faculty.

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MON FEB 22

Assignment #2: “Narrowing the Focus”—The Brand Code is Due on MURAL. Please post with accompanying naming lists and moodboards for review.

FIELD TRIP:
10am. Visit the Wilcox Museum in Lippincott Hall.

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WED FEB 24
Demo on Brand Identity:
HOW-TO generate logos, ideas, sketches and concepts:

Mining for Signs:
Building
Artifact
Shapes
Vase
Pieces of Marble
Layers
Light
Shadow
Column
New/Old
Arch
Roman Face
Oblique
Massive/Scale
Gorgon
Engraved
Stone


Assignment #3: Generating Ideas-Logo Sketches
Based on your Brand Code create 3 different concepts to express your “Big Idea”. For each different concept sketch 10-15 ways to express your big idea via type (logotype) and image (symbol). Sketches can be drawn or digital. Use any of the finalized names we have generated. Post your sketches with your Brand Code and Moodboards on MURAL.




NAMES:
Atheneum @KU
Kansas Classical Museum
Banks Mediterranean Museum
Banks Classical Museum
Center for Classical Discovery
Kansas Classical Museum
Kansas Classical Forum
Banks Museum of Classical Art
Wilcox Classical Forum
Banks Classical Forum
The Commons at Wilcox
Wilcox Classical Commons
Banks Classical Commons
The Classical Commons
The Classics Wing @KU (or at the University of Kansas)
KU Classics Forum
The Apex Museum               
Walls of Wilcox
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MON MAR 01
Review Progress on Assignment #3: Generating Ideas-Logo Sketches

Post Ideas on MURAL for feedback and using group feedback choose 2-3 Logo Concepts to refine and build an identity with.

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WED MAR 03
Look at Logo Concept refinements

Examples of “Brand Kit of Parts, Flexible Brand Identity & Visual Voice”

Ideas to think about as you sketch:
Flexible Brand Identities
Flexible vs. Logo-Centric
Logo Centric, but flexible in how imagery works with it
https://2x4.org/work/12/brooklyn-museum/
Walker Expanded
How to mock up Space | Here too.

Set up Assignment #4: Designing Brand Identity

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MON MAR 08
Review individual progress.

Start putting your refinements into a pdf presentation that walks Phil and the Wilcox team through your concept.
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WED MAR 10—No Class—Workday

FRI MAR 12 —Presentation of ARCH 509 Concepts (10am-12:30pm on Zoom)

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Mon Mar 15-17 KU Design Week
Please attend some Design week events & post your progress
to MURAL for asynchronous critique :)
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MON MAR 22
Assignment #4: Designing Brand Identity kit due
and presentation to Wilcox

Refinements based on feedback

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WED MAR 24
Individual/team meetings on feedback

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MON MAR 29

Finalize Assignment #4: Designing Brand Identity
Set up Assignment #5: Creating Touchpoints

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WED MAR 31
Individual/team meetings on feedback

PRESENTATION ON:
“Brand Applications and Exhibit Graphic Design”

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MON APR 05
Individual/team meetings on feedback

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WED APR 07
Individual/team meetings on feedback

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MON APR 12
Present intial presentation board ideas. 24in x 36in vertical. Post on Padlet. 
Projector Demo at Wilcox

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WED APR 14
TBA

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MON APR 19
TBA

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WED APR 21
Individual/team meetings on feedback

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MON APR 26
TBA

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WED APR 28
Individual/team meetings on feedback

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MON MAY 03
Individual/team meetings on feedback

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WED MAY 05
Final Presentations of Brand Identity
to the Wilcox and stakeholders



PRIMARY ACTIVITIES
The activities in this course will center around one project involving the whole semester.

DELIVERABLES
A Brand Identity (as a team or one you designed individually)
where you will visualize the Wilcox Classical Museum’s new brand concept.

A Brand Presentation (either in poster format or as a book/pdf) for display online and eventually in the Art and Design building that communicates your proposal.

COURSE METHODS
This course will provide opportunities for students to gain design knowledge and abilities through studio projects and critique presentations. Additionally, lectures, readings, demonstrations, slide presentations, class and group discussions, and personal student meetings will be used.

ATTENDANCE
Attendance will be taken at the beginning of each session of class.

In the event of any absence, students are responsible for obtaining all missed information, materials, and assignments from the class period(s) during which they were absent. Students who are absent must complete all assignments by the due date originally assigned for the work.

For each class that meets twice per week, only three absences will be allowed for any reason during the course of a given semester. A semester total of four absences in a given class that meets twice per week will result in a penalty of one letter grade in that class. A semester total of five absences in a given glass that meets twice per week will result in a semester grade of “F” in that class. In case of exceptional circumstances, instructors may make exceptions to this policy at their discretion.

A semester total of three “late” marks in any given class will be equivalent to one absence with respect to this policy.

In order to ensure that students are connected with support services at the university when appropriate, and to ensure that students are duly reminded of the possible consequences of continued truancy, instructors should submit an Absence Warning Form after two absences for a class that meets twice per week or after one absence for a class that meets once per week.

Work (even when unfinished) must be displayed during critiques in order to receive a grade. Late work will be lowered one full letter grade for every day that work is not turned in. A student will be given a project grade of “F” for any project that is never submitted.

GRADING SCALE
Excellent (A+ 98–100%, A=94–97%, A– 90–93%)
Good (B+ 87–89%, B= 84–86%, B– 80–83%)
Average (C+ 77–79%, C= 74–76%, C– 70–73%)
Below Average (D+ 67–69%, D= 64–6 6%, D– 60–6 3%)
Failing (F 59% & below)

Completing the minimum requirements outlined on an assignment sheet qualify as “C” level (or average) work. The degree and quality of effort with which a student engages in the different criteria (above or below the minimum requirements) for each assignment determines how well they do.

COURSE REMINDERS
The central factor in determining your design ability will your understanding of visual concepts as they apply to assignments. The process of designing and how you got there is as important as any final artifact you make.

Please participate. Show me you are curious and you care. Use this opportunity to design a real solution to a real client. Come to class prepared, even if you think your work isn’t where you want it to be...let us help you make it better!

Research and multiple ideations are required for every assignment. It is vital to a successful design solution, as well as your development as a design student. All work must be thoroughly documented. Note: While the computer will usually be the ultimate tool for production, preliminary work will often be done on paper. Mock-ups, thumbnails and sketches are a way of exploring relationships quickly by thinking and making simultaneously. It allows you to see multiple ideas, compare, and arrive at a point in which to select the “best” example to develop further.

Critiques
Visual Communication Design does not happen in a vacuum. Clear verbal skills are all important in communicating your ideas to clients and design team members. For all critiques, students are expected to come prepared to present their concepts, discuss how the form of their design supports their concept, and describe how they arrived at their ideas. Providing comment to your peers is a privilege. You will benefit from both giving and receiving feedback—you do not have to “like” another’s work, but you must provide insightful commentary in a courteous manner.

Academic Conduct
Please adhere to the rules as listed in the student disruptive conduct policy found at: http://www.studenthandbook.ku.edu/codes.shtml

Academic Support
Students who have a documented disability as defined under the Americans with Disabilities Act (ADA) can register with the University Academic Support Center (UASC) if they would like to request accommodations. Requests for any accommodations should be filed through the UASC prior to the start of classes or very shortly thereafter. Requests for accommodations are most effective when submitted prior to beginning or immediately after beginning a class. More information regarding requests for accommodations is available at http://access.ku.edu/.

Requesting Adaptations for Entirely Online Study
Students who determine that they would prefer to complete any course that features an in-person component in an entirely online format should contact the relevant instructor(s) immediately to discuss their preference. Such students should also submit a course adaptations request at this link, which makes an official record of their request with the university and officially notifies the instructor: https://studentaffairs.ku.edu/course-adaptations. Course adaptation requests can be made after the start of the semester, but should be made earlier in the semester rather than later if possible.

Disabilities
Students needing special assistance or accommodation should contact the KU Academic Achievement & Access Center office at 864-4064. They are located in room 22 in Strong Hall.

Plagiarism
Is copying someone’s work or taking somebody’s idea and trying to pass it off as yours and will result in penalties as outlined in the KU student code of rights and responsibilities.
The Design Outside Studio (or DO Studio)
A COURSE-BASED EXPERIENTIAL-LEARNING PROJECT | DOWNLOAD A PRESENTATION


Field Work is the Real Work. With today’s technology we can have class anywhere; and often if the classroom doesn’t looks like a classroom, then my design students think and make more creatively.

“Necessity is the mother of invention” - Proverb “The more you know, the less you need.”— Yvon Chouinard


Our studio loves to be outdoors, out of the classroom and into natural places that challenge us to design, think and make in new ways. We realize the design process is a powerful tool for making things better, visualizing what if, and creating change.

As our parks and public spaces face threats to their existence and challenges in broadening public support and connecting visitors to memorable and meaningful learning & recreational experiences; we as a studio (students and faculty) look to find ways in which to collaborate with organizations, parks, rangers and fellow outdoors-folk to find ways to connect people with the natural world.



We want to foster a stewardship ethic for both designer’s and audiences a like.



Maybe its a more inclusive and engaging sign that explains something unseen; a map, app or guidebook that helps somebody find a new path to explore; or a wayside exhibit that connects a person to an event that shaped the place where they stand on…

Or getting visitors to slow down and connect to a wild place that puts the world in perspective…or challenges them to reconsider our relationship to the planet…we live for those moments and we use design thinking and making to create conversations that inform, explain, interpret and sometimes provoke.

We have designed projects that:
– introduce millions of visitors to a national park
– challenged park visitors to Leave No Trace
– explained the alpine environment to hikers at 12,500 ft. 
– connected people to a river ecosystem through fly fishing
– created a pop up art exhibit in a campground
– archived and digitized revered National Park “Lettering”






Visit the National Park Typeface Website for more info.


Designing for Change 
VISC 520 an 8-week Junior & Studio Course

L A U N C H
Choose an organization, business, audience, issue, student group, product, service, experience, campaign that needs a visual voice in this world.

A great idea that is trying to make itself be known. Something that has a great idea or mission, but people just don’t know about it. Care about it. Love it. Design the change it will be it wants to be. Visualize it…through branding and applying the brand to various touch points. Make it real. Design it some love.

Ex. An Empanada shop in Lawrence that specializes in South American drinks (including Yerba Mate) or a Advocacy campaign for the benefits for continuing to teach cursive in our public schools or a make-a-wish type foundation that specializes in helping mobility challenged students study/travel abroad.

R E F R E S H
Choose an established organization, business, service, experience or campaign that exists in this world but has lost touch, lost favor, is just part of the noise, lost direction with its mission or generally needs clarity, engagement or is a misread opportunity that could be better. Design the change it could or should be. Visualize it…through branding, application of the brand to touch points and other visualization strategies.

Ex. KIVA-micro loans that change lives, Goodwill, KC Public Library, ZAPPOS, The Boy Scouts of America, The Federal Bureau of Investigation, The United States Postal Service, US Forest Service, Cosmosphere in Hutchinson, KS, Worlds of Fun, Singer Sewing Machinces, NASA…

For the majority of the semester you will:

• identify and define a significant problem or opportunity facing a civic institution, government or business;
• conduct research to develop a strategy to solve the problem you identified;
• visualize your research;
• translate your research into a persuasive and emotional visual proposal;
• support your reasoning and work with research and process documentation


Naomi Shultz’s Launch of Soft Moving Co.



Mitchell Friedeman’s Refresh of the US Forest Service.


Kylie Vandeven’s Refresh of the American Natural History Museum.


Jessie Brown’s Launch of a new dentist concept.
Patrick Blanchard’s Refresh of the Kansas City International Airport.


Kelley McQuillen’s Refresh of the Hotel Mazarin in New Orleans.



Chloe Hubler’s Launch of a new non-binary clothing brand.