Courtesy Rolling Stone
Advanced Typographic Design. Prerequisites: GrD 3200 with grade of C or higher, and consent of graphic design area coordinator or instructor. Advanced concepts in typographic design within a studio problem-solving format; advanced digital techniques, formal, and experimental applications of typography. Lab Fee: $20.00. 3.000 Credit hours
Tuesday, September 30, 2014
AIGA100: A Century of Design visit to MODA
Thanks to all
the Junior and Senior Graphic Design majors for attending
the visit to The Museum of Design Atlanta yesterday. It was an amazing
turnout with 42 graphic design majors present. Also present were two of
our MFA students/GTA's Ricky Warren and Carrie
Brown as well as Professor Elizabeth Throop! A great big "Shout Out" to
Doug Grimmett, Founder and creative director of Primal Screen (and
current President of the AIGA Atlanta chapter) for giving us such an
amazing tour of the exhibition which he
co-curated with AIGA national president Sean Adams. Also a huge "Thank
You" to Laura Flusche, Executive Director for MODA, for allowing GSU to
visit the museum on Monday when the museum is usually closed to the public. Great visit!
Great inspiration!
Take a look at the review by ArtsAtlanta:
http://www.artsatl.com/2014/09/review-aiga-century-of-design/
Article below courtesy of NeighborhoodNewspapers.com
Author Bobby Tedder.
The Midtown venue’s “AIGA 100: A Century of Design” is a retrospective that appears to pay homage to that realm’s reverential past while acknowledging the depth of contemporary contributions and the benefits of forward thinking.
“This is probably one of the most visually stunning design shows you’ll ever see,” said curator Doug Grimmett. “This is not an award show. … It’s made to delight and engage you.”
The titular entity at the heart of the exhibit, the American Institute of Graphic Arts, gets its just due by way of text and images. Framed iconic posters featuring the handiwork of the renowned designers it nurtured. Artifacts and a meandering timeline noting historical and pop culture flashpoints collectively serve to balance and stylize the endeavor.
The museum’s leaders acknowledged embracing the daunting task of chronicling the last 100 years of design.
Grimmett, a museum board member and owner of the firm Primal Screen, spent nearly a year painstakingly poring over archival materials to piece together the continuum expressed in the show.
“You have to put a box around it,” he said. “A hundred years ago, the word [‘design’] didn’t exist. … Generally, when you’re in a movement you don’t know what it’s called until you look back.
“The AIGA is a particularly good lens for the whole development of the field on the world stage. We have great examples of work [in the exhibit] that’s never been seen. … I don’t know if you’d want to go to a show to see stuff you’ve already seen a million times.”
The craftsmanship of design titans past and present adorn the walls and virtual gallery in the museum — from Paul Rand to Milton Glaser to Chip Kidd — as part of the exhibit. The instantly familiar work of other notables is just as aesthetically illuminating, ranging from a nutritional value label attached to food products to the CBS network’s seeing-eye logo.
“I think that one of the important things the exhibition conveys is that graphic design is everywhere and it does everything with us, for us,” said museum Executive Director Laura Flusche. “It solves so many of our problems, … helps us figure out which exit to take, warns us not to take too much medicine.
“So it’s not necessarily something that is just decorative. It allows us to function better in our day-to-day lives. I think you see a lot of that in this particular exhibition — you start to understand that.”
Kudos
to Doug Grimmett, president of Atlanta-based animators Primal Screen,
who came up with the concept, worked with past AIGA president Sean Adams
to select the artifacts, and designed and financed the show. - See more
at:
http://www.artsatl.com/2014/09/review-aiga-century-of-design/#sthash.BxnuxIA0.dpuf
Take a look at the review by ArtsAtlanta:
http://www.artsatl.com/2014/09/review-aiga-century-of-design/
Kudos
to Doug Grimmett, president of Atlanta-based animators Primal Screen,
who came up with the concept, worked with past AIGA president Sean Adams
to select the artifacts, and designed and financed the show. - See more
at:
http://www.artsatl.com/2014/09/review-aiga-century-of-design/#sthash.BxnuxIA0.dpuf
Doug
Grimmett, president of Atlanta-based animators Primal Screen, who came
up with the concept, worked with past AIGA president Sean Adams to
select the artifacts, and designed and financed the show. - See more at:
http://www.artsatl.com/2014/09/review-aiga-century-of-design/#sthash.BxnuxIA0.dpuf
Doug
Grimmett, president of Atlanta-based animators Primal Screen, who came
up with the concept, worked with past AIGA president Sean Adams to
select the artifacts, and designed and financed the show. - See more at:
http://www.artsatl.com/2014/09/review-aiga-century-of-design/#sthash.BxnuxIA0.dpuf
Doug
Grimmett, president of Atlanta-based animators Primal Screen, who came
up with the concept, worked with past AIGA president Sean Adams to
select the artifacts, and designed and financed the show. - See more at:
http://www.artsatl.com/2014/09/review-aiga-century-of-design/#sthash.BxnuxIA0.dpuf
Article below courtesy of NeighborhoodNewspapers.com
Author Bobby Tedder.
The Midtown venue’s “AIGA 100: A Century of Design” is a retrospective that appears to pay homage to that realm’s reverential past while acknowledging the depth of contemporary contributions and the benefits of forward thinking.
“This is probably one of the most visually stunning design shows you’ll ever see,” said curator Doug Grimmett. “This is not an award show. … It’s made to delight and engage you.”
The titular entity at the heart of the exhibit, the American Institute of Graphic Arts, gets its just due by way of text and images. Framed iconic posters featuring the handiwork of the renowned designers it nurtured. Artifacts and a meandering timeline noting historical and pop culture flashpoints collectively serve to balance and stylize the endeavor.
The museum’s leaders acknowledged embracing the daunting task of chronicling the last 100 years of design.
Grimmett, a museum board member and owner of the firm Primal Screen, spent nearly a year painstakingly poring over archival materials to piece together the continuum expressed in the show.
“You have to put a box around it,” he said. “A hundred years ago, the word [‘design’] didn’t exist. … Generally, when you’re in a movement you don’t know what it’s called until you look back.
“The AIGA is a particularly good lens for the whole development of the field on the world stage. We have great examples of work [in the exhibit] that’s never been seen. … I don’t know if you’d want to go to a show to see stuff you’ve already seen a million times.”
The craftsmanship of design titans past and present adorn the walls and virtual gallery in the museum — from Paul Rand to Milton Glaser to Chip Kidd — as part of the exhibit. The instantly familiar work of other notables is just as aesthetically illuminating, ranging from a nutritional value label attached to food products to the CBS network’s seeing-eye logo.
“I think that one of the important things the exhibition conveys is that graphic design is everywhere and it does everything with us, for us,” said museum Executive Director Laura Flusche. “It solves so many of our problems, … helps us figure out which exit to take, warns us not to take too much medicine.
“So it’s not necessarily something that is just decorative. It allows us to function better in our day-to-day lives. I think you see a lot of that in this particular exhibition — you start to understand that.”
Specs for Re-Packaging the Wine/Olive Oil/Sake
The Specs for RE-Packaging of Wine/Olive Oil/Sake
Based on an existing wine brand (or Olive Oil, Sake) of your choice, design a "new and improved" label and matching gift box package that utilizes typography to its fullest extent. This redesign should visually represents the aesthetic of the product you choose. Do your homework and investigate all aspects of your product. Ask all the appropriate questions regarding who owns the company (local family or large conglomerate).
Your Re-design should also appeal directly to a specific market audience of your choosing and should be designed not only with "shelf appeal" but with consideration made to the three dimensional quality of the packaging ( Point-of-Purchase.)
All necessary typographical elements should be included which are found on the existing product you have chosen to redesign ( bar code, net weight, and any other legal notations/requirements as prescribed by U.S. law and import standards.)
The Creative Brief:
Everyone is required to write a brief synopsis of why you chose the particular produce and package to redesign and indicate your new advertising/ strategy along with the focus audience you wish to market this product to directly. It should be clear and stated simply as if you were presenting this to the client.
The Taste Test:
Who, What, When and Where?
Make sure you have some familiarization with the product that you have chosen. Where did it come from? How does it taste? What restaurants serve it? If it's wine, is it imported? Does it come from a family vineyard? Does the bottle or container represent the wine currently? Is it a limited edition or once a year wine? Does it reflect the country as well as its geographical location?
Make sure you know your product and the history of the product before starting out with any redesign. Stay away from products with little or no information in their history. You might choose a local store product (Krogers, Publix, Whole Foods, 7/11, etc.) but make sure you are upgrading their design.
The Deliverables:
Final presentation boards should also include:
1. The bottled Re-packaged product
2. A Gift Box of some type (sleeve, box, slip cover, removable decorative element of some type)
3. Printed photo of final project (Art-directed photograph of the bottle and gift box)
4. Comps and drawings of product as you are redesigning it.
Please remember this is a TYPOGRAPHICAL approach to an existing product that is currently on the market. Think about your color palette and approach to this product. Will the end result be a rubdown transfer on the bottle/box or will it be a printed label or combination of each?
The Prerequisites:
Everyone is required to bring in the original product before starting your redesign. (Each student is required to choose 1 from 3 original products they wish to redesign.)
Previous student work will be discussed, examples on the blog and discussions of building an gift box and/or decorative addition to the redesign bottle and photograph.
Deadline; TBA
Monday, September 29, 2014
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