Over the years the business of Graphic Designers’ Studio has grown many folds, resulting in a need to move from “home-based” business model, to an office where the 3 support staff and 2 customer service reps and 15 designers can be consolidate at one location.…
I will then compare the limitations of different software packages used in graphics work. (M1)…
* There have been recent developments in the production of clothing and communication. Computer aided manufacturing and designing was introduced allowing efficiency to be increased. * Headquarters started using email in its communication to allow faster transmission of messages within the company. * Three dimensional designing software allowed them to create new products virtually and, it could be viewed from a few perspectives.…
GRA 202 - LAYOUT & TYPOGRAPHY MIDTERM STUDY NOTES LECTURE 1: THE GRAPHIC DESIGN PROCESS THE DESIGN PROCESS 1. Planning > 2. Design > 3. Development > 4. Feedback * There is no one way* - as such design usually solved a problem (ie. save money, environment, persuade) THE GCM GDP - what do you do when you are working? - what steps do you take? - is there room for improvement? - were you missing steps? OTHER GDP 1. Meet > Research > Conceptualize > Layout & Design > Present & Revise > Finalize 2. Breifing > Design > Artwork > Production 3. Define prob/goal > research > inspiration > sketch > digital implementation > feedback > more digi > colour & typefaces > final rev > delivery DESIGN BREIF Purpose: get everyone on the client side on same page & give the designer a point of reference Contains: corporate profile, backgrpound w/ position situation & communication, the message, target market, objectives, budjet, schedule MIND MAPS Components Include: floating topic, central topic, main topics Subtopics DESIGN AND CROWDSOURCING - the internet is changing the way we participate in design - crowd sourcing is when you ask a question of the crowd - Process: client posts job > designers respond w/ solution > client picks winning design - sometimes refered to as spec work - benefits client bc get to see end result for free > possible steal ideas and not pay designer for work LECTURE 2: ELEMENTS OF GRAPHIC DESIGN - POINT, LINE & PLANE ELEMENTS OF GRAPHIC DESIGN Line, Colour, Texture, Size, Shape, Value Space * Graphic Designers use type to communicate a message or line to create movement, or colour to create mood etc.* THE CHALLENGE - the way we identify & describe elements is varied - there is no one process for graphic design & there is no set of "stuff" or "rules" either - "Stuff = elements of design" & "Rules = principles of design" DEFINITION - Elements of graphic design: the components or content of the design, they can be tangible or work to…
Graphic design is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience. The main tools are image and typography. From humble things like gum wrappers to huge things like billboards to the T-shirt you 're wearing, graphic design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure.…
I gain clarity in my works by visualizing the problems and objectives through a series of moving images or short films as a result of my imagination. Visualizing my objectives allows me to take a consumer's perspective and gain insight on how my work may be interpreted. The solutions I gain from my imagination will determine what medium I use to create the final product. Whether the medium used is a short motion graphic, photography, hand-drawn illustration, or the physical product itself, every aspect of a project is critically examined to enhance the experience. Thorough research is also reflected in how the graphic design such as colour, typography, and composition weave back to support the story being…
The writer of the main content presents a comprehensible idea of how design compares to innovation, and creativity. Von Stamm, (2003), defined design as; a mindful resolution making procedure in which an idea is altered into an outcome by its concrete (merchandise) or service. After reading this explanation a person can observe how…
Bibliography: Oct 18, 2008 – This slideshow provides an introduction to graphic design. It illustrates the growth of it, especially during the Web 2.0 age. This was presented ...…
In Victor Margolin’s article “Rebellion, Reform, and Revolution: American Graphic Design for Social Change,” he does well in presenting Graphic Designers and their contributions to political and social change throughout history. Graphic Designers have a moral and ethical responsibility to the public. Mainstream media offers a plethora of inspiration and information for visual artists and designers alike. In recent years, the media’s journalistic integrity, or lack thereof, has been easily influenced by political agendas and bias. It is imperative for Graphic Designers to conduct as much research as possible before creating any social or political solution. The psychological and social impact of Graphic Design requires designers to have both morals and ethics. There are many tools a designer has to use at their exposal, such as: political public opinion, psychology, and media influence.…
Design – Creativity is not just an item for those who are good with their hands. You can step into this world of alluring designs and connect for more. It gives you the power to unleash your richness.…
One conclusion is that we are given a natural world… But we design an artificial one!…
References: [ Stage-Gate International . (2012). Product Innovation Process. Retrieved March 16, 2012, from Stage-Gate International : http://www.stage-gate.com/knowledge_pipwhat.php ]…
England, Scotland, Wales and Northern Ireland have all developed different approaches to the planning and delivering of early year’s education.…
Cited: Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction" 1935. http://www.student.math.uwaterloo.ca/~cs492/Benjamin.html. 3/21/03. Divila, Amy. "Cultural Logic in Cyberspace: Web Art & Postmodernism." The Journal of New Media and Culture. Summer 2002. 5/3/03. http://www.nmediac.net/summer2002/cultural_logic.html. Grau, Oliver. Virtual Art: From Illusion to Immersion. Cambridge: The MIT Press. 2003. Holtzman, Steven. Digital Mosaics: The Aesthestics of Cyberspace. New York: Simon & Schuster. 1997. Lamsweerde, Inez. Kissing Vinoodh (Passionately). 1999. Photo courtesy of http://www.bistart.com/ADBitstreams.htm. 5/13/03. Pollack, Barabra. "Digital Media: Back to the Future with 'Bitstreams '." Art in America. v. 89, no. 9. September, 2001. p. 60-63. Stevens, Mark. "Geek Art." New York Magazine. v.34, no. 13. April 2, 2001. p. 69-70. Works Consulted Aukstakalnis, Steve and David Blatner. Silicon Mirage: The Art and Science of Virtual Reality. Berkeley: Pechpit Press, Inc.. 1992 Laurel, Brenda. "Strange New Worlds of Entertainment." Compute. 13. November 1991. 102-104. Morse, Margaret. Virtualities: Television, Media Art, and Cyberculture. Bloomington: Indiana University Press. 1998. Packer, Randall and Ken Jordan, eds. Multimedia: From Wagner to Virtual Reality. New York: W.W. Norton and Company. 2001. Selbin, Eric. "Cyberpunk: Fiction 's Brave New Genre." Utne Reader. July/August 1989. 28-29.…
The second reason for illustration again focuses on how the involvement of procedural evolution does not allow for the permanent defining of art, in this case in regards to the applied art production methods. Most recently computers have revolutionized some forms of art. It has also created a new movement through the application of technology in new and unique ways to the creation process. If art had been permanently defined prior to this new use of computers it would have stifled what has become a new and exciting branch of art, and as a consequence could have limited future productions from unimagined advancements.…