VISC 520 Studio ︎︎︎ Project 1 |Project 2 | Project 3 | Resources | Drive
Download a complete copy of the syllabus here︎︎︎
DIAGRAM BY BRUCE MAU
Milton Glaser
Design is about change and this course introduces design, branding, and visualization strategies associated with creating positive change. Emphasis will be on methods of thinking, framing, and research that precede the creation of design, as well as the importance of visual and verbal presentation.
Students will complete three projects exploring how might a graphic designer visualize change; instigate/advocate for change; and practice as an agent of change.
Weeks 1–5
Visualize Change — Reflection Map
Weeks 6–10
Change Behavior (Shikake Design) — Help Someone Do Something
Weeks 11–16
Change Agent — Help an existing Brand Change Directions
COURSE PURPOSE
The purpose of this course is to prepare students for contemporary design practice, focusing on sophisticated form-giving, design process facilitation, and strategic design thinking. Students will learn to navigate unstructured situations, where problems are undefined, and develop communication design solutions that address unstated needs.
LEARNING OUTCOMES
At the conclusion of this course, students will be able to:
Design Thinking & Problem Solving: Formulate a meaningful ideation process based on research, content understanding, context, and audience. Identify, define, and solve complex communication problems through visual solutions.
Research & Ideation: Conduct thorough research to inform design decisions and iterate on concepts through multiple ideations. Document design processes and outcomes, providing evidence of successful problem-solving and creative thinking.
Critical Analysis & Decision-Making: Break down complex problems into manageable parts, identifying patterns and cause-effect relationships. Make informed design decisions by evaluating different perspectives, weighing pros and cons, and projecting likely outcomes.
Strategic Visualization: Utilize visualization techniques to propose and prototype solutions for evaluation. Develop compelling visual narratives that effectively communicate change
Communication & Presentation: Present design concepts effectively, articulating the relationship between form and content. Engage in critique sessions, providing and receiving constructive feedback to refine design outcomes.
DESCRIPTION OF THE COURSE
This is a core studio for seniors in Visual Communication Design, it will require your consistent attention & energy. Class time will be structured around:
• presentations on concepts, models, methods
• analysis and assessment of project work in the form of regularly scheduled group critiques, small-group and individual critique
• you will present your incremental progress toward completing final objectives frequently, so be prepared for class to receive feedback!
Generally Tuesdays will be days to introduce projects, concepts; present and discuss work as a group in critique. Thursdays will often be small group critiques and/or individual presentations of work.
All research and project-based work will be pursued and completed outside of classroom instruction hours. To successfully achieve the objectives of this course, you will need to dedicate a minimum of 15 additional hours a week to complete readings, research and projects.
The course activities will provide a platform to specifically explore the “Identify/Define,” “ Discover,” and “ Develop” phases of the designing process. By doing so, you will see the alignment of the “classic” design process that you have learned and practiced in your other design courses with what business people call the “planning process”. Through readings, discussions and 4-5 week projects you will experience the value of designing as a way to solve problems. In this class you will produce important evidence of your success as a creative problem solver. You will create important portfolio products that demonstrate your intellectual and technical creativity.
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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.
In order to maximize your learning and growth as a designer in this class, active engagement with the coursework is essential. Adopt a serious attitude and be willing to go beyond the assigned tasks. Challenge yourself and embrace the philosophy of learning through hands-on experience. Design is a competitive yet rewarding profession, and this course is designed with that mindset.Expectations include diligent effort every day, not just for grades, but for personal development and skill enhancement.
To truly benefit from this course, it is important to approach it with curiosity, self-initiative, and a dedicated investment of time. The work we will be doing can be time-consuming, occasionally frustrating, and involve iterative making. Trial and Error! Embrace the opportunity to immerse yourself, actively participate, share ideas, and explore new possibilities. If this approach does not resonate with you, it may be worth discussing alternative course options with your advisor.
Effective verbal communication skills are paramount in conveying your ideas to clients and fellow design team members. During critiques, students are expected to come prepared to present their concepts, explain how their design form supports the underlying concept, and describe the processbehind their ideas. Offering feedback to your peers is a privilege. Engaging in both giving and receiving feedback is beneficial. While you do not have to personally “like” someone else’s work, it is crucial toprovide insightful commentary in a respectful and constructive manner. During class, lectures, and demonstrations, it is required that you be working on things related to this class (not other classes), that you turn your phone to silent mode and refrain from distractions such as texting, social media, checking email....
A lack of professionalism can effectively lower your grade by one full letter grade.
— Attend class on time and stay throughout the whole class period
— Prepared for every class
— Participate in classroom discussions/crits
— Use class time to work on projects for this class
— Maintain a positive and open-minded attitude
— Demonstrate deliberate self-disciplined and timely work habits
— Progressively strive for and achieve the highest standards of quality
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ATTENDANCE
Students are required to attend class. Please be in class on time and remain for the entire period. Attendance will be taken at the beginning of each class period. Three late marks will equal one absence. A total of 3 absences will be allowed for any reason, including excused absences. On your 4th absence, your grade will drop by one full letter grade, or you may be asked to withdraw from the course. In the event of any absence, students are still responsible for obtaining all information and materials from the class period and completing all assignments on time. It is your sole responsibility to find out about any new work assigned during your absence.
In the event of any absence, students are still responsible for obtaining all information & materials from the class period and completing all assignments on time. It is your sole responsibility to find out about any new work assigned during your absence.
MEDICALLY-RELATED ABSENCES
Because of the fast-paced, project-based nature of studio curricula, absences as the result of a medical condition will count in the same way as non-medical absences. Excessive absence for any reason, as outlined in this policy, is irreparably detrimental to a student’s ability to succeed in our studio curriculum.
RELIGIOUS OBSERVATIONS
Students who plan to observe religious holidays should inform instructors of the day(s) they intend to be absent due to religious observance. You should inform the instructor before the absence. Doing so allows enough time for you and your professor to prepare accordingly.
Please see the University Excused Absences policy (USRR 2.2.1) for any additional information.
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GRADING
This course is a mandatory requirement listed under the major studies section on your degree check sheet. To progress to the next course in the sequence, it is necessary to achieve a grade of C (2.0) or higher.
Course Grade Criteria:
The final grade for the course will be determined by the collective assessment of the following:
- Project Work: 75%
- Project 1: Visualizing Change (25%)
- Project 2: Instigating Change (25%)
- Project 3: Advocating for Change (25%)
- Participation & Critiques (10%)
- Contribution to class discussions and critiques.
- Research & Documentation (15%)
- Quality and thoroughness of research and process documentation.
Project Grade Criteria:
The final grade for each project will be determined by the collective assessment of several key components: Participation, Process, Exploration,Refinement, Final Product, and Craft.
40% Process:
includes demonstrated process of idea development, research, type/image studies, concept development, quantity and quality of sketches. More than just one idea explored, prepared for class and critique participation. I will keep track of your process. A process book/pdf will be handed in with each project. The process book contains ALL your sketches, refinements, notes...from the project. Directions will be given specifically for each project. It should be organized, neat and professional.
50% Product:
comprehension of problem, originality of solution, appropriateness of solution, typography, visual invention, visual aesthetic, application/translation of concept, followed the assignment sheet or directives given in class.
10%
Craftsmanship: presentation of final, neatness, precision, technical proficiency, appropriate materials. Poor craft can reduce a project grade by 1 full grade.
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)
To achieve an “A” grade, it is crucial that your process, product, and participation surpass expectations.Merely completing the project requirements will not be sufficient to earn an “A.” It is not merely amatter of fulfilling basic criteria.Every one of you has the potential to earn an “A.” Strive for excellence consistently. Meeting theminimum expectations by being prepared and fulfilling assigned tasks corresponds to a “satisfactory”effort, which equates to a “C” grade. Remember, a “B” grade reflects Very Good!
Work (even when unfinished) must be displayed during critiques in order to receive a grade.
All projects and assignments are due on the date given and due at the beginning of class. Late projects will be penalized by lowering the project grade by one full letter grade. After three days, late projects will no longer be accepted.
You may be assigned an 'I' (Incomplete) grade if you are unable to complete some portion of the assigned coursework because of an unanticipated illness, accident, work-related responsibility, family hardship, or verified learning disability. An Incomplete grade is not intended to give you additional time to complete course assignments or extra credit unless there is indication that the specified circumstances prevented you from completing course assignments on time.
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ACADEMIC INTEGRITY
Academic misconduct will not be tolerated in this class. Academic misconduct by a student shall include, but not be limited to, disruption of classes; threatening an instructor or fellow student in an academic setting; giving or receiving of unauthorized aid on examinations, reports or other assignments; knowingly misrepresenting the source of any academic work; unauthorized changing of grades; unauthorized use of University approvals or forging of signatures; plagiarizing of another’s work; or otherwise acting dishonestly. Disruptive Behavior: The scope and content of the material included in this course are defined by the instructor in consultation with the responsible academic unit. While the orderly exchange of ideas, including questions and discussions prompted by lectures, discussion sessions and laboratories, is viewed as a normal part of the educational environment, the instructor has the right to limit the scope and duration of these interactions. Students who engage in disruptive behavior, including persistent refusal to observe boundaries defined by the instructor regarding inappropriate talking, discussions, and questions in the classroom or laboratory may be subject to discipline for non-academic misconduct for disruption of teaching or academic misconduct. https://policy.ku.edu/governance/USRR#art2sect7
All academic misconduct is reported to the Department Chair, the Dean’s office and to the University. Consequences may include course failure, departmental suspension, or expulsion from the university.
Plagiarism
It is mandatory that all work submitted for this class is original and created by you specifically for this semester and this class. Any instances where work is discovered to closely resemble material found online will be regarded as plagiarism. In such cases, appropriate sanctions will be implemented for all individuals involved in plagiarizing coursework. Plagiarism is a violation of the University Senate Rules and Regulations and will not be tolerated.Consequences may include failing the project, disqualification from the Viscom SophomoreReview, course failure, departmental suspension, or expulsion from the university. Plagiarism is reported to the Department Chair, the Dean’s office and to the University and is a form of academic misconduct. Important note about Artificial Intelligence: If AI is used to help create text or images in this project (or any project in any of your classes), it is imperative to be transparent and honest about its involvement. AI can be embraced and explored as a tool used to enhance the creative process. Maintaining mastery over the AI and making necessary alterations to all final deliverables is crucial. Failure to inform us that you are using AI at any point in the project will be considered plagiarism, and strict consequences will follow. As we navigate this learning process, we must remember to exercise responsible AI usage and ensure that AI serves as a valuable assistant rather than a substitute for creativity and originality.Together, we can leverage AI to augment our process. Honesty and integrity could lead to amore insightful and ethical exploration of AI’s potential in the creative domain.
Imagery
To maintain integrity and respect copyright laws, it is crucial that you either create your own imagery or use images from the Public Domain whenever possible. If you are unable to create your own visuals, it is important to give proper attribution and credit when utilizing images from external sources.Remember to include attribution for any images sourced from the Internet. An image online does not grant you automatic permission to use it—it is not a matter of “finders keepers.
ILLUSTRATION BY VISCOM ALUM MATT CHASE
Important note about Artificial Intelligence: If AI is used to help create text or images in this project (or any project in any of your classes), it is imperative to be transparent and honest about its involvement. AI can be embraced and explored as a tool used to enhance the creative process. Maintaining mastery over the AI and making necessary alterations to all final deliverables is crucial. Failure to inform us that you are using AI at any point in the project will be considered plagiarism, and strict consequences will follow. As we navigate this learning process, we must remember to exercise responsible AI usage and ensure that AI serves as a valuable assistant rather than a substitute for creativity and originality.
Together, we can leverage AI to augment our process. Honesty and integrity could lead to amore insightful and ethical exploration of AI’s potential in the creative domain.
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ACADEMIC SUCCESS
Please visit the Student Resources website (KU Academic Success) for a list of student resources and university policies.
The Student Access Center (SAC) coordinates academic accommodations and services for all eligible KU students with disabilities. If you have a disability for which you wish to request accommodations and have not contacted SAC, please do so as soon as possible. They are located in 22 Strong Hall and can be reached at 785-864-4064 (V/TTY). Information about their services can be found at access.ku.edu. Please contact me privately in regard to your needs in this course.
ArcD Student Hub
Weekly announcements, advising info, policies and resources, job postings, internships, scholarshipopportunities, upcoming electives, and study abroad trips, student organizations information andevents! www.arcd.ku.edu/current-students
Name and Pronouns
Everyone has the right to be referred to with their preferred name and pronouns. An opportunity toshare names and pronouns will be provided on the first day of class. If there are any changes duringthe semester, feel free to inform me. The instructor and students in this course are expected torespect each other’s identities, names, and pronouns. If someone makes a mistake or misgendersanother student, a brief apology and self-correction are appreciated. In case you feel that youridentities are not being respected, including by the instructor, please let me know about the issue.If you prefer not to share with me directly, you can consider reaching out to other resources like theCenter for Sexuality & Gender Diversity or the Office of Civil Rights civilrights@ku.edu and Title IX. Students who are in the process of updating their name at KU can refer to the Center for Sexuality &Gender Diversity’s “Name & Gender Marker Changes at KU” guide at sgd.ku.edu/name.
The Purpose of Critique
Critique is one of the most valuable parts of formal design education. It is also one of the most difficult aspects of the design school experience. It is a collaborative activity that takes quite a bit of time to learn — both in terms of how to give feedback, and how to accept feedback.
• How can you help your classmates be the best designer they can be?
• Please be collegial classmates and motivate each other to excellence.
• Critique is not a competition; it is an opportunity to learn and grow.
• Critique is a collaborative activity that requires time to learn how to give and accept feedback. Both givers and receivers of critique play a role in creating a positive and constructive environment.
• Pay attention to critiques of other students’ work as there is much to learn beyond your own projects.
• Understand the goals of the critique, whether it is exploring concepts, refining details,or celebrating project completion.
• Critiques should be honest but not cruel or disrespectful.
• The purpose of critique is to improve the work.
• A critique should leave you empowered to improve your work.
Connect with Your Academic Advisors
Real-time conversations with an academic advisor are the fastest path to assistance and support. Check out the website for more information orto set up an appointment.www.arcd.ku.edu/advising If you are having trouble connecting with your advisor then please see me for help!
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This syllabus is subject to further change or revision, as needed, to best realize the educational goals of the course. Necessary revisions will be announced in class. All project schedules are subject to change based on class progress.
VISC 402 Studio ︎︎︎ Project 1 |Project 2 | Project 3 or 4 | Resources | Drive
Download a complete copy of the syllabus here︎︎︎
ILLUSTRATION BY VISCOM ALUM MATT CHASEThis course is a research and writing-based examination of both informational and expressive uses of graphic design. Projects will emphasize the student’s role as content author, curator, researcher, investigator, interpreter and designer, encouraging the development of an individual voice while prioritizing a critical and professional approach to design work.
An author is the creator of an original work that has been published.
Students will need to engage in a variety of making methods and will be given research prompts exercises, guided research, and projects. The course emphasizes exploring your role and responsibility as a designer, focusing on identifying and developing ideas into concepts and determining the best vehicles (formats) for your projects.
Students will complete three projects exploring voice & expression through typography and type and image relationships:
Weeks 1–5
Authoring a Perspective: Design a Manifesto
Design an expression of your point-of-view as a graphic designer or your “hot take” on design. This can be disseminated in any form (print, screen-based, physical, virtual, etc.) appropriate to your message.
Weeks 6–10
Authoring an Exhibit: Typography in the Public Sphere
Curate a collection of public visual communication into a hand-held, user-paced, printed, temporal experience.
Weeks 11–16
Authoring an Interpretation: Wonderfair Collab
Using one of the products selected byWonderfair, design an artifact and/or experience that tells a story(s) about the object. This story might communicate or reinforce its use, history, meaning, or symbolism, or re-contextualize it entirely.
or
Authoring a System: City of Missoula Montana
Collaborate with the City of Missoula to create a visual strategy guiding swimmers, paddleboarders, and tubers on safely and legally accessing the Clark Fork River. This project focuses on balancing recreation with conservation, fostering a sustainable relationship between the community and the river.
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.
Generally mondays will be days to introduce projects, concepts; present and discuss work as a group in critique. Wednesdays will often be small group critiques and/or individual presentations of work.
In order to maximize your learning and growth as a designer in this class, active engagement with the coursework is essential. Adopt a serious attitude and be willing to go beyond the assigned tasks. Challenge yourself and embrace the philosophy of learning through hands-on experience. Design is a competitive yet rewarding profession, and this course is designed with that mindset.Expectations include diligent effort every day, not just for grades, but for personal development and skill enhancement.
To truly benefit from this course, it is important to approach it with curiosity, self-initiative, and a dedicated investment of time. The work we will be doing can be time-consuming, occasionally frustrating, and involve iterative making. Trial and Error! Embrace the opportunity to immerse yourself, actively participate, share ideas, and explore new possibilities. If this approach does not resonate with you, it may be worth discussing alternative course options with your advisor.
Effective verbal communication skills are paramount in conveying your ideas to clients and fellow design team members. During critiques, students are expected to come prepared to present their concepts, explain how their design form supports the underlying concept, and describe the processbehind their ideas. Offering feedback to your peers is a privilege. Engaging in both giving and receiving feedback is beneficial. While you do not have to personally “like” someone else’s work, it is crucial toprovide insightful commentary in a respectful and constructive manner.
Be present. During class, lectures, and demonstrations, please work on things related to this class. It is also appreciated that you silent your phone and refrain from distractions such as texting, checking social media, email....Try an put phone away :)
— Attend class on time & stay throughout the whole class period
— Prepared for every class
— Participate in classroom discussions/crits
— Use class time to work on projects
— Maintain a positive & open-minded attitude
— Demonstrate deliberate self-disciplined and timely work habits
— Progressively strive for and achieve the highest standards of quality
Process Documentation
Process is integral to this course. Students are expected to work iteratively and organize their process throughout the semester to use in final project presentations. This includes sketches, research notes, moodboards, prototypes, and project reflections.
Assessment Criteria
Grades for each project will be determined by the collective assessment of several key components:
30% Process & Participation:
Includes demonstrated process of idea development, research, type/image studies, concept development, quantity and quality of sketches. More than just one idea explored, prepared for class and critique participation. I will keep track of your process. Some sort of process documentation will be handed in with each project. This will contain all your sketches, refinements, notes... from each project. Directions will be given specifically for each project. It should be organized, neat and professional.
50% Concept & Product:
Comprehension of problem, originality of solution, appropriateness of solution, typography, visual invention, visual aesthetic, application/translation of concept, followed the assignment sheet or directives given in class.
20% Presentation & Craft:
Presentation of final, neatness, precision, technical proficiency, appropriate materials. Poor craft can reduce a project grade by 1 full grade. Pay attention to detail.
VISC 402 Studio ︎︎︎ Project 1 |Project 2 | Project 3 | Resources | Drive
Go Slo by Sister Corita Kent
Authoring a Perspective: Design a ManifestoUtilize the Risograph printer in the KU Colorbar to design and print an expression of your point-of-view as a graphic designer or your “hot take” on design.
This project challenges you to articulate and visually express your unique point-of-view as a graphic designer. Your task is to create a manifesto — a bold declaration of your beliefs, values, and perspectives on design. Whether it’s a critique, an aspiration, or a rallying cry, your manifesto should be an authentic and thought-provoking (humor is a strategy) representation of your design ethos. Alternatively, you may select an existing manifesto from designmanifestos.org that resonates with you and reimagine it visually in a way that amplifies its message. The form your manifesto takes is up to you: print, screen-based, physical, virtual, or any combination thereof. The medium must support and amplify your message.
The medium must support and amplify your message.
CONTEXT
Manifestos have long been a tool for artists & designers to challenge norms, provoke thought, and advocate for change. As part of this project, you will start by exploring iconic design manifestos to understand their rhetorical strategies.
These include: (any from https://designmanifestos.org)
- Sister Corita Kent: Ten Rules!
- Experimental Jetset: Disrepresentation Now!
- Henna Burney: A Manifesto for Salt (2021)
- Ken Garland: First Things First (1964)
- African Life-Centric Design Manifesto (2024)
- Tibor Kalman: Fuck Committees (1998)
- Bruce Mau: An Incomplete Manifesto for Growth (1998)
- Alice Rawsthorne: Bad Design (2019)
- Michael Rock: Save Yourself (2000)
- Sister Corita Kent: Ten Rules (1966)
Project Goals
- Develop a clear & compelling pov about graphic design.
Any pov. Really!
- Explore form-making strategies to create a visual language that reinforces your manifesto’s message. This is your time to make in the way that you like to make.
- Select an appropriate medium & format to effectively
disseminate your message. Must be able to make multiples!
- Use the Risograph printer to print a zine or booklet.
Schedule:
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WED JAN 22
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Inclass:
Introduce to Class/Syllabus. Assign Project 1.
Why is this class called Designer as Author?
https://ellenlupton.com/Designer-as-Producer
- Explore designmanifestos.org to discover a wide range of design manifestos.
- Analyze provided manifestos and/or your chosen one.
- Brainstorm your own perspective or “hot take” on graphic design.
Start with a broad themes, then refine into a focused idea.
- Begin drafting your manifesto (min. 150 words) or
annotating your chosen manifesto(read thoroughly, summarize main points, highlight and define key concepts,
what stands out to you?, what questions do you have? Connect to other art/design makers or movements, Jot down formal ideas)
Deliverable: A written draft of your manifesto or an annotated analysis of your chosen manifesto printed out to turn in.
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MON JAN 27
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Inclass:
Individual (or group if wanted)meetings on manifesto drafts/analysis to get some feedback/questions.
Homework:
Update manifesto or analysis based on feedback.
Experiment with form-making strategies to visualize your manifesto.
- Explore typography, color, texture & the interplay of type & image.
Deliverable: 2-3 different moodboards (printed 11x17) showcasing different visual approaches. Name each one and have a list of key words that connect to your manifesto.
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WED JAN 29
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Inclass:
Small group review/feedback of moodboards. What is making sense? What isn’t? What are you thinking in terms of different media and formats (e.g., zines, book(s), cards, sticker pack, pop-up book, comic, posters, animations, websites, installation, etc.) to find the most effective vehicle for your message? Have a chat about it!
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MON FEB 03
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TL;DR presentation (https://tldrzines.com/)
Homework:
Generate sketches/prototypes of 2-3 potential formats and form study for your manifesto. What we are interested in here is more of proof of concept. How might the text be displayed or interacted with? What will it look and feel like? What will be the experience be for the viewer/user? How will the experience reinforce your message? Paper or Digital is up to you, but be ready to present to the whole class. Paper mockups can be helpful to show scale :)
Deliverable: PDF presentation of 2-3 potential formats, inital form studies with your final moodboard as visual back-up/rationale, so we can connect the dots of what this might look like. Upload your file HERE.
Here’s a list of what to prepare/what to Include in your presentation if you need some help organizing your thoughts:
(Re)Introduce Your Manifesto:
If you’ve written your own, summarize its core message and values. If you’ve chosen an existing manifesto, briefly explain why it resonates with you.
Provide Context:
What inspired this perspective or choice? How does it relate to the current design landscape or your personal beliefs?
Summarize Main Takeaways:
Highlight the key points you want your audience to understand.
Explain Your Design 2-3 Directions:
What potential design decisions are you considering? How do these choices reinforce your message? How can we help you decide?
Discuss Impact:
Who is your intended audience? What response or action do you hope to inspire?
Set up your format:
If possible, bring a paper prototype or create a wireframe to help illustrate your ideas. Be prepared to discuss why this format is suitable for your message and how your format supports your message.
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WED FEB 05
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Inclass:
Initial Format/Design Direction presentations & feedback
Homework:
Select final direction and design a first draft in full-scale. If shooting video, begin filming and edit a rough cut of some scenes.
- Refine your manifesto’s text and visuals based on class feedback.
- In the first draft focus on developing a cohesive visual language that aligns with your message.
- Iterate on your chosen format and visual direction and try it on for size, testing how to integrate typography, imagery, and materials in a meaningful way that expresses your intended message(s).
Print and/or render so we can interact with your first draft next class.
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MON FEB 10
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Inclass:
Review first drafts in small groups and give/receive feedback.
Homework:
Make refinements based on class discussion/comments and push components that are still question marks or unsure.
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WED FEB 12
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Inclass:
Individual meetings and worktime in lab, riso etc.
Homework:
Make refinements based feedback & print/publish Draft #2. In addition to the draft write, design and print a small half sheet that has 3-5 questions you have that you want your fellow designers to help you with.
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MON FEB 17
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Inclass:
Review first drafts in small groups and give/receive feedback.
Homework:
Make refinements based on class discussion/comments and push components that are still question marks or unsure.
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WED FEB 19
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* Snow Day *
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MON FEB 24
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Inclass:
Draft #2 reveal and show & tell.
Set up Manifesto Project turn in & deliverables. Printed version & project documentation (min. 18x24in poster with photos and concept statement).
Homework:
Make refinements based feedback & print/publish Draft #3.
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WED FEB 26
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Inclass:
Review 3rd drafts in small groups and give/receive feedback.
Homework:
Make refinements based on class discussion/comments and push components that are still question marks or unsure.
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MON MAR 03
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Jeremy out of town. Workday. Printday. Photo Documentation Day.
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WED MAR 05
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Meet at Murphy Art & Architecture Library to talk next project and see examples of topics.
Homework:
Finish Manifesto project!
Printed final with presentation/documentation poster.
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MON MAR 10
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Manifesto Due. Upload your files HERE. Pin up in the hallway.
Homework:
Design a very quick 1-3 slide presentation of potential topics for Project 2. Use lots of imagery :)
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WED MAR 12
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Initial topic presentations to see what folks are thinking and get some feedback!
Homework:
None. Unless you go somewhere with interesting public typography and graphics that you want/need to document.
VISC 402 Studio ︎︎︎ Project 1 |Project 2 | Project 3 | Resources | Drive
Photo Book: Public Lettering/Typography
As graphic designers we spend much of our time working with typographic application for a variety of two-dimensional surfaces from magazines to computer screens. There is however, a world of rich typographic experience both formal and informal in signs, graffiti, and other forms of lettering that inhabit our everyday environment.
I want each student to select a discrete niche within this environment and make a photo essay book about it. You will have authorship of the collecting of the photo material, the writing of an essay to accompany it, and the design of the publication. The first step is to choose your subject matter.
Some examples of kinds of lettering:
building & shop signage
roadway signage
graffiti
shoe lettering
monuments or tombstones
focus on a specific typeface (like Helvetica) found in the environment
led, electric or neon type
food & beverage type
hand made type
vehicle type
garment type
athletic type
handbills
natural or man-made forms that suggest type whatever interests you
Deliverables: (Must be printed*)
Two copies of the photo essay.
*unless your concept is more appropriately distributed in another way.
Parameters/Page Count:
• Size: 8.5x11inches or smaller (at least 36 pages)
• Size 8.5x11 inches — 11x17 inches (at least 28 pages)
• Size: 11x17 inches or greater (at least 16 pages)
Schedule:
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WED MAR 12
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Review moodboards and concept statement presentations
as pdfs in small groups.
Homework:
For our first installment I want you to take/collect 50–100+ photos of your subject. Photograph/Scan these as high of quality tifs or jpgs as you can. You will want the flexibility when laying out your photo essay.
A good approach is to not only record the typography but the context in which it exists. The making of an “establishing shot” (this is alley > where is located the dumpster > that has the graffiti) can help with the story telling we want to eventually do.
Create a grid on 11x17 sheets of paper and print these “boards” out, so we can see your “collection” next class. The board should give an idea of the variety of your photos, including establishing shots, main or subject shots and details. Also include on the boards some photographic textures that come out of the photos you’ve taken so far. Also include simple color palette of black + 2 or 3 colors. Build the board so that the photos, textures and color give context to each other and are telling your “story”
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WED MAR 17-19
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Spring Break
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MON MAR 24
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Review image “collection” boards in small groups. At this point we are looking for the theme you will use for your book to emerge. In your groups make wordlists for what you all are seeing in the imagery. Following this review you should be able to go out with a greater conceptual focus and make more photos that help tell your “story”.
Homework:
1. What else do I need? This is a good time to review your photos – do you have enough? Are they covering your subject the way you need to? Where can you find to take more?
2. What might this book look like? Based on those words you made in your small groups...create a moodboard(s) of layout, typeface choices, colors, textures, overall visual mood that this book might feel like. Use some of your photos. The board(s) should give an idea of the variety of your photos, including establishing shots, main or subject shots and details. Also include on the boards some photographic textures that come out of the photos you’ve taken so far. Also include simple color palette of black + 2 or 3 colors. Build the board so that the photos, textures and color give context to each other and are telling your “story.”
3. What will the text be? Where can you find info?
You will be providing/writing your own texts for the book. These can be your own essays and/or existing articles or a mix. The word count should be a minimum of 1500 words. Everyone will need to use at least two sources for your research. Since there is a wide variety of topics SOME of these can be off the internet – a search for “graffiti” or “neon signs” in a source like Wikipedia can give you usable material. Bring in a couple sources to share with Jeremy next class.
For your essay you will need the following text parts:
An outline of your proposed text. Break your subject down into chapters noting the content of each. Make use of all the text parts as given below.
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• A title that includes the words “Public Typography”. Needs to locate the subject matter and intrigue.
• Your main text. This will be the bulk of the written content. It can be an explanation of your interests in your typographic subject. It can additionally be a recounting of traveling to/through the photos you took in your book. Like a travelogue or diary. Or a combination of these approaches. In other words you can write to suit your interest and / or process.
• Main heads. These fall at the outset of chapters or sections. This is display type and brings specific typographic flavor to the book.
• Subheads. You will have need of this text part to break down the main text subject matter into smaller categories or parts of the “story”.
• Captions. Don’t just tell us what we’re looking at and where it is – in most instances you will want to go further and write an extended caption that tells more details about the photo or the circumstances of the photo taking.
• Pull quotes. These can come from your outside sources. These are attention getting quick lead-ins to your topic. They can also be “expert” or other voices commenting on your subject.
• Side bar. This text is in a kind of “parallel” to your main text. It can tell a story-within-a-story, or be a break-out that expands on an aspect or your
subject. An example might profile a local “tagger” in a book on graffiti.
• Credits. Give yourself credit. Credit others. List your information sources in a bibliographic form. You also need to record your book type face(s), kind of camera and other technical matter. Thank anyone who helped you.
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WED MAR 26
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Review moodboards & text outlines/articles in individual crits.
Homework:
1. Collect any additional imagery & text needed.
2. What format will this thing be? Create at least 2 paper mockups of chosen book size with example grid(s) to show next class.
3. Create at least 2 different typographic strategies (typefaces, color, texture, layout, interaction with imagery). Using your keywords and moodboards as departure points, take some words from your essay (titles, body copy, subtitles, heading, quotes, etc) and play with these words in type. You are trying to explore how your book might treat your text. Play. Print out for next class.
4. Do the same with your imagery. How will you crop it? Edit? Place it? Montage? Collage? Frame? Color correct? One Color? Two? Stylize? Contrast-level? Grain? Treatment? Play. Print out for next class.
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MON MAR 31
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Review paper mockups & type strategies in small groups. How is the typography interacting with your imagery. How do they feel together? What is working/not working to express your keywords.
Homework:
Refinements based on feedback. Using your chosen type/image direction apply it two atleast two spreads of your book. Establish the following:
- Page Number: Indicates the sequence of pages in the book.
- Captions: This text illumniates the image and/or gives photo credit
- Running Heads: These are elements that appear at the top or bottom of each page, often including the author's name, chapter title, or book title.
- Body (Text): The main content of the book, including chapters, paragraphs, and other text elements.
- Page Margins: The space between the text and the edges of the page.
- Headers and Footers: These are elements that appear at the top and bottom of each page, respectively.
- Column Width: The width of the body copy.
- Pull Quote: Sections of text pulled from a book and displayed in a larger or different style to stand out on the page
- Line Spacing/Leading: The vertical space between lines of text.
Print out for next class.
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WED APR 02
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Review two spreads in small groups!
Homework:
Refinements based on feedback and create the first draft of your book (All main text placed, establishing flow, rhythm, pacing.) It’s okay if imagery isn’t all in there, but deal with all the text to see how much space you need/have. Print out atleast half-size for next class.
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MON APR 07
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Let’s meet at Secure Attachments (Wonderfair’s gallery space) at 4pm.
15 W 9th St, Lawrence, KS 66044
After hearing about the next project option those that want some feedback on their book first, we can head over to Sunflower Cafe to have some crits.
Homework:
Work on second draft of book, again get all content in the publication (Includes book matter: title page, colophon, etc.) even if it is exactly the way you want it, you’ll want to determine pacing (how much do we read, when), where imagery will go and the overall sequence and duration of the experience. How do we scan?, where to we settle in to read?, how does the flipping of pages and looking at images tell a story?, how can it be reinforced?, subverted? or illuminated? by the text after we see that images & vice versa.
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WED APR 09
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Virtual Class. Let’s meet online for first 30-45min to hear from Missoula and then I will make breakout rooms for small group critique.
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MON APR 14
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Review second draft of book (includes multiple pages printed on final paper stock/color to test). Print
Homework:
Final Book Due (2 copies) and post pdf HERE.
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WED APR 16
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Design Week. Workday.
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THU APR 17
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I will be in my office all day (and/or can jump on zoom) if you want
some final feedback or production help!
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MON APR 21
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PDF of Project Due before class starts. FINAL_PUBLIC_TYPE
Inclass:
We will do some small group brainstorming for the Missoula Clark Fork project & Secure Attachements/Wonderfair packaging project.
Homework:
Print & produce your final Public Type prototype to turn in!
Design 1-2 moodboards (11x17 pdfs) of your intial ideas to share with group.
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WED APR 23
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Review printed publications and moodboards for next project.
VISC 402 Studio ︎︎︎ Project 1 |Project 2 | Project 3 or 4 | Resources | Drive
Unboxing: Packaging Design for Secure Attachments/Wonderfair
Project Overview:
In collaboration with Wonderfair, KU Graphic Design students will create imaginative and tactile packaging concepts for a curated set of Wonderfair products. Each student will select 2–3 items from a provided product list (10–15 total items curated by Wonderfair) and explore various packaging solutions. Emphasis will be placed on play, narrative, sustainability, and form. Students will ultimately prototype one fully developed design for review and potential display at Wonderfair or the Secure Attachments exhibition.
Deliverables:
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Initial Concepts & Moodboards
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Three Paper Prototypes exploring varied packaging directions
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Final Packaging Design – Full-scale, finished prototype
- Poster Presentation – Including photography, storytelling, and design process
Design Considerations:
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Incorporate narratives or concepts related to the product’s origin, use, or surprise factor
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Embrace materials experimentation and sustainable thinking
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Consider how packaging communicates and functions—beyond protection or display
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Encourage the viewer to pause, interact, and discover
Project Schedule
Week 1: Discovery & Concept Development
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Mon, Apr 21 – Project Kickoff
Finalize product from Wonderfair. Look at dielines.
Begin research, material exploration & narrative brainstorming
Wed, Apr 23 – Moodboards Due
Submit and present 1–2 printed visual direction boards (PDF format)
Include material swatches, color, typography, packaging precedents, storytelling cues
Week 2: Physical Prototyping & Refinement
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Mon, Apr 28 – 3 Paper Prototypes Due Explore three different packaging formats (full-size prototypes)
Wed, Apr 30 – Final Concept Prototyped + Digital Sketches Translate your selected direction into a digital design
Bring in a polished paper prototype
Week 3: Application & Interaction
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Mon, May 5 – Printed & Assembled Final Prototype
Classmate interaction test: classmates will pick up, open, and respond to your packaging.
Wed, May 7 – Refined Packaging + Poster Planning
Bring in refined version. Sketch out your poster presentation.
Begin planning photography and art direction.
Week 4: Finalization & Presentation
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Wed, May 14 – Final Presentations Due
upload pdf and present:
Final Packaging Prototype
Poster (with photo documentation & storytelling)