🌱 Spring 2022 Electives 🌱

Brand Identity Design
8:00am–1:00pm / Rich Rose / Designing an identity and identity system is a critical skill practiced by today’s designers. In this course, students will create two identity systems: one for an arts organization and one for a socially constructive campaign. While a traditional identity system is defined as a logo and a set of rules for governing that logo's application across a range of media, the goal of this class is to expand upon the ways an identity can be conceived through the manipulation of language, materials, and audience expectation/participation.
Type Design
8:00am–1:00pm / Richard Lipton / This elective is an opportunity for students to immerse themselves in the process of designing a typeface; to consider all the design decisions that are a part of this creative exercise, and to learn the finer points of letter structures and systems, serif and sans, spacing, kerning, and all the other details of execution which turn a roughly-formed idea into a more complete, rigorous and polished digital design. This course will provide a fundamental understanding of how typefaces work in addition to understanding a tool that can further your design goals.
Design in the Posthuman Age
1:10pm–6:10pm / Anastasiia Raina / In this class, we will explore our contemporary condition through visual-research based projects around self-design, speculative design and design fiction. We will use graphic design as a medium to ask questions about ethical concerns emerging from advancements in science and technology. We will develop a new design vernacular incorporating ideas from revolutionary recent developments in genetics, biotechnology, and artificial intelligence. We will employ machine vision: microscopy, neuroimaging and NASA archives to create new fictional worlds in concert with the life forms around and inside us. This engagement with the sciences will allow us as graphic designers to acquire some fundamental tools that probe fundamental human nature, and help us navigate the posthuman epoch that lies ahead.
Newly Formed
11:20am–4:20pm / Kathleen Sleboda; Chris Sleboda / Newly Formed focuses on advanced composition in graphic design and typography using an array of materials, techniques and formats. Each year, the class is reframed and remade, formed again for the newest cohort of students. Emphasis is placed on experimental form-making/image-making using generative and iterative approaches, with a core principle being that form need not follow function and that knowledge can be acquired from a process-based approach to design. Studio assignments are supported by lectures showing contemporary graphic form, from historical to contemporary work, which are meant to inspire and be sites for response. This elective aims to build a collection of work that can be shared with the larger graphic design community.
Generative Design: Tool, System, Network
8:00am–1:00pm / Minkyoung Kim / This course explores generative processes with emphasis on visual systems by rethinking the tools and software used to produce and distribute graphic design. Design approaches for mobile products, generative visual identities, and variable fonts show how a designer's role has become more about creating iterations based on modules, algorithms, and datasets. In this class, we will investigate how designers can take this environment as a creative condition and explore various form-making methodologies to evoke its meaning and context. Knowledge in basic html/css/javascript is useful. Specific techniques on prototyping tools including p5.js and other web programming languages will be provided throughout the course to strengthen students' skills. Weekly student-led presentations and reading discussions will cover relevant topics.
Type & Image in Motion
8:00am–1:00pm / Franz Werner / We stand firmly planted in a visual world, surrounded by a universe of things to look at. Images flicker from televisions, iPads, computer monitors and more-as large as towering billboards and as small as compact cell phones. Such images provide us with clues about our environment, feeding our mind with information that we find useful for survival or for orientation purposes. But these very same images clutter the horizon and prevent us from discerning what is truly important. How do we tell them apart? The primary goal is to equip students with the skills necessary to create meaningful and intelligent images. Course content is tailored for three levels of experience—introductory, intermediate and advanced. Some of the class projects include documentary photography, film title design and music video. The works of Saul Bass, Bill Viola and Michel Gondry will be used as the “textbooks” for this course. Readings, film screenings and listening exercises accompany studio work. Some knowledge of Adobe Flash or After Effects or Final Cut Pro would be helpful but is not required. Click through to view student work.
Design for Publishing
1:10pm–6:00pm / Ernesto Aparicio / This course will cover all aspects of designing comprehensive art and photographic books. We will examine the use of type in layouts, editing images, grids, scale, and pacing. Particular attention will be paid to certain elements of design production, including the visual, tactile, and aesthetic qualities of paper, printing, binding, color separation, and advanced techniques in reproduction, namely duotone and three-tone in black and white photography. In the first part of the semester students will design the layout and the corresponding dust jacket for a photographic book. The material will include a number of original black and white photographs from one of the very well known French photographers. In the second part of the semester, students will be given the choice between designing a book based on their own interests and completing a book design project using assigned material.
Experience Design
1:10–6:10pm / Kelsey Elder / Experiential Design (XD) sits at the intersection of communication, humans, and the built environment; physical and digital. It’s the practice of crafting interactions for the purpose of human enrichment; to persuade, to inform, to educate, and/or to entertain an audience. This studio will invite you to engage, imagine, tinker, and test drive in the impossible and extreme conditions of the Present. It will ask you to make experiential artifacts (tools, projects, presentations, proposals, workshops) for (and with) your loved ones, your peers, and your immediate communities. Project prompts will be fast-paced and allow you to explore a range of self-initiated subject matters. Scale of projects will range from hand-held to inhabitable and will favor human scale. You should expect that projects will ‘complete’ in ranges of stages; from half-hacked/DIY prototypes to fully realized proposals, from segment install to final installations.
Web Type (hybrid)
1:10–6:10pm / Marie Otsuka / This course explores the intersection of typography and web design as a creative medium. By engaging with type that activates the capacities of browsers, we will push beyond ”resonsive design” as a layout-based exercise and question what typography can “respond” to — whether user input, network conditions, or the physical environment. All projects will involve hand-coding web pages, using the browser for experimental research and engagement. Critique and discussions will broadly examine the sociocultural implications of publishing on the internet; technical instruction will include web languages such as HTML, CSS, and JavaScript, as well as type design technology such as variable fonts. A basic background in coding is recommended, but not required.
Time, Sequence & Sound
1:10–6:10pm / Ron Pearl / This is a course about design and motion, filtered through the lens of real-world, graphic design applications. From film titles to animated gifs, design installations to handheld applications, motion is an important consideration in 21st century graphic design. This course combines disciplines of graphic design, animation, storytelling and sound design. Through a series of in-studio and multi-week assignments, students will create animated projects that include real-world assignments as well as experimental exercises. Short weekly lectures will discuss historic and current works of influential Motion Designers, Animators and Directors. Adobe After Effects will be the primary production tool for this class. Through the sequence of assignments, students will become fluent with the software.
Exhibit Design
8:00am–1:00pm / Doug Scott / This course will focus on the following: • a critique of an existing exhibit • conceptual thinking • experiential creation • materials and model-building • exhibition typography • exhibit as narrative • three-dimensional spatial planning. These projects, which will result in the creation of scale models, are relevant to all exhibition projects and experiential installations; and relate to exhibits at zoos, science centers, history and natural history museums, national parks, and art museums. Students will design exhibits in these content areas: architecture, history, and animals. The studio work will be augmented with slide lectures on the history of exhibition design, stage design, and store window design.
Mapping Information
1:10–6:10pm / Doug Scott / This course introduces basic concepts, methods, and procedures of information design with focus on visualizing data and information. It investigates visual systems and information structures such as maps, graphs, charts, and diagrams. We will discuss the use of marks, icons, color, and typography. Emphasis is placed on the exploration of conceptual and visual solutions, and on the creative process of organizing, visualizing, and communicating information. The objective is to examine design solutions that make complex information easier to understand by specific audiences. The course will be delivered as studio projects, individual and group critiques, a history of information lecture, discussions, and readings. Students will design information visualizations in these content areas: a map of three journeys; depicting a process of making something; a visualization of a chapter of a work of fiction – showing characters, place, and interactions; and a complex set of infographics about a country – its geography, trade, agriculture, population, climate, etc.
✨Gathering: Language, Form and Process✨ (new)
1:10–6:10pm / Shiraz Gallab / This course invites students to engage in a process of gathering. Students are asked to define, re-define, and materialize the act of “gathering” through a series of prompts that study language, text, and form alongside print and digital publishing platforms. At the core of this studio are notions of the self and interdependence. This course poses questions on how the self informs culture, how the self is situated in society, and how the interdependent self is materialized through language, form, and personal narrative. This course is a site of gathering — of different voices, frameworks, and methods. Students will be introduced to critical texts and ideas, and many of these resources will be provided by guest artists and designers whose practices embrace the act of gathering. Students will collectively and individually design publications throughout the semester, with the definition of “publication” taking an expansive form.
✨Design and Politics✨ (new)
Compelled by a mix of moral and professional motives, many designers have turned to politics. It’s urgent, it’s consequential and it’s everywhere. The course will pay particular interest to how design overlaps with the political sector in these areas: activism, technology, manufacturing systems, public engagement, and speculative futures. The curriculum allows for multi- and cross-disciplinary work and will benefit students looking to add to existing bodies of work — particularly those in their final semester. The course aims to build a community of students who want to not only make political work, but to engage in the political realm. The classroom will provide a place to debrief the political discourse near and far, with the goal of getting students with diverse locales and beliefs to share and connect as makers. The course will include local politicians and community groups who will contextualize design within larger systems. GRADUATE ONLY.
Workshop: RISOGraph
1:10pm–6:10pm / Fri / Tycho Horan / This workshop will use the ideas from Risograph (RISO) printing to combine practical pre-press skills, encouraging experimentation formmaking. The aim of this introduction workshop is to teach students to consider the craft and value of well-planned files to produce high-quality outputs that can be replicated and shared. Students will work within a series of technical constraints that will require creative solutions as well as an understanding of this particular printing process, color, paper, and file preparation.
Workshop: Photo/Graphic
8:00am–1:00pm / Fri / Franz Werner / Photography plays an important role in the field of graphic design—within publications, posters, electronic media, etc. Because of the camera's availability and fairly inexpensive cost, photography has become one of the most popular hobbies in the world. Although he/she is in possession of such a device, the average person is not entirely aware of certain image manipulations and other concepts used by the graphic designer. This four-week workshop introduces designers to the lighting studio and the many uses of the camera in creating design artifacts.
Workshop: Digital 3D Design
1:10–6:10pm / Fri / Ed Brown / This workshop will introduce students to the foundational tenets of digital 3-dimensional modeling through the lens of the graphic designer. Using 3D-modeling and sculpting software students will learn strategies for creating virtual forms in different contexts. Once comfortable with modeling students will be introduced to the various elements of rendering including shaders, lighting, and the virtual camera. After successfully rendering scenes students will learn to composite their renderings with 2D graphic design work as well as create animations for video and motion graphics.
Workshop: UX/UI Design
1:10pm–6:10pm / Fri / Ilhee Park / This workshop aims to introduce essential knowledge of Figma, which facilitates creating a mobile interface design. To begin, students will participate in a fundamental UX Design research exercise to consider the intuitiveness and usefulness of the app. From there, we will create simple UX/UI design work, including a complete wireframe phase that is the first step in solving a challenge in our daily lives. Our final output for the class will be a high-fidelity prototype of a digital app.
Workshop: Screenprinting
1:10pm–6:10pm / Fri / Hilary duPont / This workshop will focus on establishing a basic understanding of a variety of screen printing techniques and how to make use of those techniques in your work. Through in-class demos and out-of-class assignments, this workshop will encourage experimentation with screens and ink. The class will start with simple paper stencils and move quickly into making screens from images and text generated digitally.