DOCSLIB.ORG

Curriculum Vitae

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Curriculum Vitae Curriculum Vitae EDUCATION 2015 mfa, Communication Design, Texas State University, San Marcos, Texas, gpa: 4.0 Thesis: Teaching Type Design: An International Comparison of Typographic Pedagogy and Curricula 2003 bfa, Fine Art Photography, University of Georgia, Athens, Georgia, gpa: 3.7 TEACHING EXPERIENCE Current Assistant Professor, Department of Art & Design, Austin Peay State University, Clarksville, Tennessee 2013 – 2015 Instructor of Record, School of Art & Design, Texas State University, San Marcos, Texas 2012 – 2013 Graduate Instructional Assistant, School of Art & Design, Texas State University, San Marcos, Texas 2004 – 2009 Commercial Photography Classroom Teacher, Grayson Technical High School, Loganville, Georgia PROFESSIONAL EXPERIENCE Current Owner, PKG Studio, Freelance Graphic Design + Photography 2009 – 2010 Customer Service Representative / Lab Associate, HS Photo, Atlanta, Georgia 2004 Art Department Intern, Art & Antiques Magazine, Atlanta, Georgia AWARDS AND HONORS 2015 Graphis Merit Award for DeL Conference Branding Materials, Texas State University San Marcos, Texas 2014 J. Charles Walker & John Brett Buchanan Foundation Sixth ucda Educational Scholarship National Graduate Student Recipient, 44th ucda Design Conference, Long Beach, California Graduate College Scholarship, Texas State University, San Marcos, Texas Outstanding Graduate Student Award, School of Art & Design Nominee, Texas State University San Marcos, Texas 2013 Global Wildlife Conservation Logo Design Contest, Winning Design, Austin, Texas Graduate College Scholarship, Texas State University, San Marcos, Texas Patrick Gosnell Assistant Professor of Graphic Design C : 404 – 993 – 7364 O : 931 – 221 – 7544 E : [email protected] Austin Peay State University, Dept. of Art & Design, Clarksville, TN 37044 W : http: //patrickgosnell.com cv 2 / 5 2002 curo Undergraduate Research Grant, Art Grant Recipient, University of Georgia, Athens, Georgia 2001 – 2003 President’s List, University of Georgia, Athens, Georgia 2000 – 2003 Dean’s List, University of Georgia, Athens, Georgia 1999 – 2003 Hope Scholarship Recipient, Georgia PUBLICATIONS (print) 2015 “TypeCon was a Capital Good Time!,” 365typo Typography Annual, published by ATypI Review of TypeCon 2014 included in a compendium of essays and articles showcasing 365 stories from the world of type design, typography, and graphic design, International 2013 Failing Forward, Texas State University, San Marcos, Texas Collaborated with Contemporary Issues and Criticism class as part of the print design team to produce an 80-page journal of design criticism dealing with failure, National PUBLICATIONS (online) 2014 “TypeCon was a Capital Good Time!,” Slanted.de blog, August 25, 2014 www.slanted.de/eintrag/typecon-was-capital-good-time Slanted magazine, Karlsruhe, Germany “Grad Life as a Parent: A Balancing Act,” Graduate College blog, February 5, 2014 txstgradcollege.wordpress.com/2014/02/05/grad-life-as-a-parent-a-balancing-act/ Texas State University, San Marcos, Texas 2013 “Can Wes Anderson’s Archer-y Skills Hit the Bullseye?,” Rushmoreacademy.com, October 22, 2013 rushmoreacademy.com/2013/10/can-wes-andersons-archer-y-skills-hit-the-bullseye/ TALKS, LECTURES, AND PRESENTATIONS 2015 “The Bauhaus and the New Typography,” Guest lecturer, Dr. Tony Morris’ History of Graphic Design course, Austin Peay State University, Clarksville, Tennessee, Local 2014 “The Grassroots Archive,” Design Inquiry 10: access, Vinalhaven, Maine, International “Failing Forward,” (co-presenter) North Carolina State University, 6th Biennial Graduate Graphic Design Symposium: Improversion, Raleigh, North Carolina, National 2013 “How to Produce Better Photographs for Your Portfolio,” aiga Student Chapter Meeting Texas State University, San Marcos, Texas, Local 2005 Round-Table Discussion on Art Education, University of Georgia, Athens, Georgia, Local cv 3 / 5 GROUP EXHIBITIONS 2015 Posted Notice, Sarratt Gallery, Vanderbilt University Sarratt Art Studio, Nashville, Tennessee, Regional 2014 Showcase, Texas State University, San Marcos, Texas, 7 pieces selected, Local 2013 Creative Summit 27, Texas State University, San Marcos, Texas, 1 piece selected, Regional Showcase, Texas State University, San Marcos, Texas, 1 piece selected, Local 2012 Creative Summit 26, Texas State University, San Marcos, Texas, 2 pieces selected, Regional 2003 bfa Photography Thesis Show, “The Beautiful & The Absurd”, Lamar Dodd Gallery University of Georgia, Athens, Georgia, Local curo Symposium, Student Center, University of Georgia, Athens, Georgia, Local SOLO EXHIBITIONS 2002 “Portraits,” Lamar Dodd Gallery, University of Georgia, Athens, Georgia, Local COURSES TAUGHT (as Assistant Professor at Austin Peay State University) 2016 Typography II Graphic Design I 2015 Typography I Web Design II Digital Photography Problems In Art COURSES TAUGHT (as Instructor of Record at Texas State University) 2014 Art Direction Typography I Branding Systems Typography II (2 sections) 2013 Conceptual Strategies Typography II (2 sections) COURSES OBSERVED (as Graduate Assistant at Texas State University) 2013 Advanced Typography Intermediate Typography 2012 Conceptual Strategies Poster Design cv 4 / 5 CURRICULUM DEVELOPMENT 2015 Graphic Design Minor, Austin Peay State University, Clarksville, Tennessee 2004 – 2005 Commercial Photography I – IV, Grayson Technical High School, Loganville, Georgia COMMISSIONED DESIGN WORK 2014 bfa Communication Design program, Identity system & Undergraduate Handbook redesign Texas State University, San Marcos, Texas SioTeX, Eco-Sil promotional pitch video, San Marcos, Texas 2013 Global Wildlife Conservation, Identity system, Austin, Texas 2012 Adelbert’s Brewery, Austin Beer Guide advertisement, Austin, Texas 2011 MedSource Supply Chain Advisors, Identity system & branding guidelines, Knoxville, Tennessee Adelbert’s Brewery, Logo & label design, Austin, Texas 2010 A House for Iris, Logo design, Atlanta, Georgia Rogue Events Planning Specialists, Logo design, Atlanta, Georgia 2009 Trio Film Fest, Logo & poster design, Atlanta, Georgia Smith Dalia Architects, Direct mail campaign, Atlanta, Georgia 80 Minutes For Life music blog, Logo design & chief graphic designer, Atlanta, Georgia 550 Trackside Historic Events Facility, Logo design & photographs, Lawrenceville, Georgia UNIVERSITY SERVICE 2015 Poster Designer, Department of Art & Design Visiting Artists and Lecturers series Austin Peay State University, Clarksville, Tennessee Poster Designer, Department of Art & Design Recruiting Poster, Austin Peay State University Clarksville, Tennessee Judge, Peay Read Competition, Austin Peay State University, Clarksville, Tennessee Judge, ceca Photo Essay Contest: “A Day in the Life,” Austin Peay State University, Clarksville, Tennessee 2014 Promotional Materials Design Team, 9th Annual Designs on eLearning International Conference Texas State University, San Marcos, Texas Director, SioTeX pitch video for Eco-Sil, Texas State University, San Marcos, Texas 2013 Judge, 10th Annual “A Week in the Life” Photo Competition, Texas State University, San Marcos, Texas cv 5 / 5 DEPARTMENTAL COMMITTEES SERVED (at Austin Peay State University) 2015 mfa Proposal Committee Printmaking Search Committee Retention, Advisement, Recruitment, and Alumni (rara) Committee, Chair Visiting Artists, Speakers, and Exhibitions (vase) Committee WORKSHOPS AND CONFERENCES ATTENDED 2015 top Conference, Chattanooga, Tennessee Chaperoned group of eleven students from Austin Peay aiga Think Tank Conference, Nashville, Tennessee Chaperoned group of seven students from Austin Peay 2014 TypeCon, Washington, dc Correspondent for Slanted magazine Design Inquiry 10: access, Vinalhaven, Maine 1-week alternative design conference at which I presented research on grassroots archiving practices Typeface Design workshop, Tom Ahn, Texas State University, San Marcos, Texas Improversion, Sixth Biennial Graduate Graphic Design Symposium, North Carolina State University Raleigh, North Carolina 2013 TypoBerlin, Berlin, Germany Attended four-day, largest international type conference with 52 international speakers including Martina Flor, Erik Spiekermann, Erik von Blokland, Kate Moross, Neville Brody, Jessica Walsh Calligraphy workshop, Frank Ortmann, Freies Grafik Design, Potsdam, Germany Logo Design workshop, Don Sibley, Texas State University, San Marcos, Texas 2012 Creativity workshop, Rachele Riley, Texas State University, San Marcos, Texas 2011 Poster Design workshop, James Victore, Texas State University, San Marcos, Texas .
Load more

Recommended publications
  • Textile Printing
    TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik.
    [Show full text]
  • Rice Design Alliance Award Submission to the American Institute of Architects for Collaborative Achievement in Research, Dissemination, and Education
    Rice Design Alliance Award Submission to the American Institute of Architects for Collaborative Achievement in Research, Dissemination, and Education 14 October 2011 On October 14, 2011, the Rice Design Alliance submitted an award submission to the American Institute of Architects for “Collaborative Achievement in Research, Dissemination, and Education.” Along with our organization’s “Biography,” a “Statement of Contributions,” and 15-pages of “Exhibits,” the RDA submission was nominated by Raymond Brochstein, FAIA with five support letters from John Kaliski, AIA, Nonya Grenader, FAIA, David Lake, FAIA, Jay Baker, FAIA, and Edward M. Baum, FAIA. Captured on the following page are a few quotes from these AIA colleagues and RDA supporters. SUBMISSION COMMITTEE Barbara Amelio, Kimberly Hickson, Lonnie Hoogeboom, Craig Minor, Suzy Minor, Danny Samuels, Carrie Glassman Shoemake STAFF Kathryn Fosdick, Raj Mankad, Katie Plocheck, Linda Sylvan “The Rice Design Alliance has been at the forefront of thinking about the future of the built environment and how cities and buildings must be sustainable. RDA has a regional reach beyond Houston, including Austin, Corpus Christi, Galveston and my town, San Antonio. RDA’s audience is not limited to design professionals. It is inclusive, open, and inviting. I have friends who are developers, lawyers, teachers, and artists who routinely attend their events because of the inspirational, informative content. RDA’s commitment to excellence and their success in expanding the audience elucidates how good design benefits all of us and the natural realm. “The Rice Design Alliance was conceived by David Crane who was Dean of the Rice University School of Architecture in 1972.
    [Show full text]
  • Textile Design: a Suggested Program Guide
    DOCUMENT RESUME CI 003 141 ED 102 409 95 Program Guide.Fashion TITLE Textile Design: A Suggested Industry Series No. 3. Fashion Inst. of Tech.,New York, N.T. INSTITUTION Education SPONS AGENCY Bureau of Adult,Vocational, and Technictl (DREW /OE), Washington,D.C. PUB DATE 73 in Fashion Industry NOTE 121p.; For other documents Series, see CB 003139-142 and CB 003 621 Printing AVAILABLE FROM Superintendent of Documents,U.S. Government Office, Washington, D.C.20402 EDRS PRICE NP -$0.76 HC-$5.70 PLUS POSTAGE Behavioral Objectives; DESCRIPTORS Adult, Vocational Education; Career Ladders; *CurriculumGuides; *Design; Design Crafts; EducationalEquipment; Employment Opportunities; InstructionalMaterials; *Job Training; Needle Trades;*Occupational Rome Economics; OccupationalInformation; Program Development; ResourceGuides; Resource Units; Secondary Education;Skill Development;*Textiles Instruction IDENTIFIERS *Fashion Industry ABSTRACT The textile designguide is the third of aseries of resource guidesencompassing the various five interrelated program guide is disensions of the fashionindustry. The job-preparatory conceived to provide youthand adults withintensive preparation for and also with careeradvancement initial entry esploysent jobs within the textile opportunities withinspecific categories of provides an overviewof the textiledesign field, industry. The guide required of workers. It occupational opportunities,and cospetencies contains outlines of areasof instruction whichinclude objectives to suggestions for learning be achieved,teaching
    [Show full text]
  • Engineered Digital Textile Print Design for Customized Curves
    Volume 10, Issue 3, 2018 Engineered Digital Textile Print Design for Customized Curves Kisalaya Choudhary Professor, Textile Design, National Institute of Fashion Technology, India ABSTRACT There are various instances when women feel the need to wear clothes for a slimmer appearance than their actual body shape. Looks and body appearance provide self-assurance to people, especially to those who are in a business related to physical appearances. Physical fitness and appearance have taken a parallel path in today’s world. Many designers have experimented with garments providing body shape deceiving and illusionistic effect through meticulous use of solid colors, slimming patterns, and illusion print designs. This research paper explores how smart edits in print design provide aesthetics blended with engineered slim looks, enhancing and customizing curves, per consumer preference, to create body size adjustments visually. The creative edits can be efficiently used for creating one piece/single garments customizing the curves and visual body shapes in synchronization with digital print design to enhance the body in a considerate manner. Keywords: Digital print and pattern, slimmer look, printed garments, customized curves Digital engineered printed textiles and customization opportunities Examples from optical slimming design garment (Figure 1 A, 1B and 1C) are used for Digital technology opens up a door of highlighting the body curves and creating a possibilities and opportunities for designers, slimming illusion. These garments are manufacturers, and business owners in created by effective use of dark and light various fields related to printed garments and color placements making the waist area textiles. Breaking the limitations of repeat appearance slimmer.
    [Show full text]
  • Wayfinding Program for the City of Naples
    Request for Proposals WAYFINDING PROGRAM FOR THE CITY OF NAPLES BID Number: 15-041 BID Opening Date: May 22, 2015 COPY YOU ARE HERE Cover Key Firm Contents Letter Personnel Experience 1 2 Project Code Schedule 3 Approach4 Compliance5 Past Price Forms Performance6 7 8 YOU ARE HERE COVER LETTER The success of the plan hinges on how well the plan’s AECOM is pleased to submit strategies create ease of access and make visitors comfortable. Strategies related to wayfi nding and our qualifi cations for the interpretation provide an important unifying element that Wayfi nding Program for the educates and directs travelers. City of Naples. A critical component that makes our process successful is public outreach. AECOM team for this project is an expert at AECOM is a national leader in wayfi nding and has signifi cant public involvement, and all members of the AECOM has experience in assisting clients in creating implementable and extensive experience in working alongside community groups. creative solutions to wayfi nding problems. The AECOM AECOM fi rmly believes that public involvement and Wayfi nding Studio has designed and implemented many sign coordination with the community, property owners, and programs consistent with the FHWA/MUTCD and local DOT advocacy groups are essential to building consensus for a policies and procedures. Our team has extensive Florida DOT successful wayfi nding design that creates community project experience and we understand the specifi c ownership. We ascribe to an approach that is highly interactive requirements for fabrication and placement of roadway signs. not only among the members of the design team, but also the We are thoroughly familiar with the FDOT District 1 approval client group, area stakeholders, and citizens of the process, which will help to facilitate the completion of your community.
    [Show full text]
  • 2018-Graphic-Design-Portfolio-Requirements-1.Pdf
    graphic design This dynamic and challenging three-year Ontario College At the end of the year, graduates have the opportunity to Advanced Diploma program is designed for individuals who display their best work at an annual Grad Show exhibition for are interested in applying their creativity to solve visual com- industry professionals and the public to attend. munication problems for both print and interactive medi- ums. Students develop the expertise required to become graphic designers through strong practical and theoretical SUCCESS FACTORS training in typography, the basics of design, layout, pho- This program is well-suited for students who: tography, illustration, interaction design, web design and • Think visually and creatively and are conceptual thinkers; motion graphics. The program includes extensive hands-on • Enjoy solving visual communication problems; training in industry-standard software tools. • Enjoy sketching and drawing and using software tools; • Enjoy working with type and imagery to communicate Graphic designers are problem-solvers who research and ideas; manage visual design projects. They establish a project’s • Are detail-oriented, organized and committed to coming goals and objectives, analyze needs/problems, develop up with the perfect design solution in their final products. visual solutions, and prepare concept presentations for client approval, which ranges from simple sketches to full colour Graduates may pursue careers through a variety of entry- layouts to site maps, wire frames and storyboards. Designers level positions in: develop concepts in consultation with clients and work with • Graphic design or Advertising Agencies photographers, illustrators, web developers, programmers • Motion Design or Interactive Design Studios and other creative professionals to produce print, digital, and • Television / Entertainment / Game Industry interactive communications.
    [Show full text]
  • 2014 MFA Communication Design/ Applied Design Research the University of North Texas
    John Hicks // Design Researcher // Curriculum Vitae johnallenhicks.com // 940.300.8046 DEGREES HELD 2014 MFA Communication Design/ Applied Design Research The University of North Texas 2004 BFA, Communication Design The University of North Texas PROFESSIONAL PRACTICE 2017– Present Sr. User Experience Researcher Monotype; Boston, MA As the sole design researcher at Monotype, I aim to raise the bar of UX maturity within the organization by building a culture of research & design. To do this, I lead research initiatives across digital commerce, product & marketing, and customer support teams to evangelize the value of design that is informed by research insights in order to craft exceptional experiences for people, while aligning user interests to those of the business. My role requires a mixed- methods approach to design which includes, but not limited to customer interviews, design workshops, funnel analytics analysis, surveys, and remote usability testing. 2015–2017 Sr. User Experience Researcher & Design Strategist ExxonMobil; Houston, TX I lead user-centered research efforts on digital enterprise applications for the Mobility & Design team at ExxonMobil. I relied on a mixed-methods research approach to understand people’s behaviors, beliefs, and values as in order to align those interests with stakeholder objectives. Education played a key component in my work as I collaborated with, and mentored peers on research methods and strategies, as well as design workshops with clients. The research methods I relied on include: ethnographic field research, contextual inquiry, one-on-one interviews, in-person moderated usability tests, card sorting, heuristic evaluations, surveys, and design workshops (service blueprint & experience mapping). 2014–2015 Design Researcher 1 Tekzenit; Irving, TX As a design researcher at Tekzenit I led generative and evaluative research efforts for local and international enterprise, and mid-sized accounts.
    [Show full text]
  • Graphic Design and Print Production Fundamentals Graphic Design and Print Production Fundamentals
    Graphic Design and Print Production Fundamentals Graphic Design and Print Production Fundamentals Graphic Communications Open Textbook Collective Wayne Collins, Alex Hass, Ken Jeffery, Alan Martin, Roberto Medeiros, Steve Tomljanovic Unless otherwise noted within this book, this book is released under a Creative Commons Attribution 4.0 International License also known as a CC-BY license. This means you are free to copy, redistribute, modify or adapt this book. Under this license, anyone who redistributes or modifies this textbook, in whole or in part, can do so for free providing they properly attribute the book. Additionally, if you redistribute this textbook, in whole or in part, in either a print or digital format, then you must retain on every physical and/or electronic page the following attribution: Download this book for free at http://open.bccampus.ca For questions regarding this license, please contact [email protected]. To learn more about the B.C. Open Textbook project, visit http://open.bccampus.ca . Cover image: Cover is a montage of two images: (https://unsplash.com/photos/WNevBlZWCKA) by Simon Hattinga Verschure and (https://unsplash.com/photos/BVyNlchWqzs) by Amador Loureiro, both licensed under CC0. Graphic Design and Print Production Fundamentals by Ken Jeffery is licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted. Contents About the Book viii Introduction 1 Ken Jeffery Chapter 1. Design History 1.1 Introduction 6 Alex Hass 1.2 William Morris and the Arts & Crafts Movement 9 Alex Hass 1.3 Deutscher Werkbund 11 Alex Hass 1.4 Bauhaus 12 Alex Hass 1.5 Dada 13 Alex Hass 1.6 International Typographic Style 14 Alex Hass 1.7 Late Modern | New York Style 16 Alex Hass 1.8 Post Modern 17 Alex Hass 1.9 Summary 19 Alex Hass Chapter 2.
    [Show full text]
  • Art: Graphic Design and Illustration (ARTC) 1
    Art: Graphic Design and Illustration (ARTC) 1 ARTC 165 Illustration ART: GRAPHIC DESIGN AND 3 Units (Degree Applicable, CSU) Lecture: 36 Lab: 71 ILLUSTRATION (ARTC) Prerequisite: ARTD 15A or ANIM 104 Corequisite: ARTD 20 or ARTD 21 or ARTD 17A or ANIM 101A (any of ARTC 100 Fundamentals of Graphic Design which may have been taken previously) 3 Units (Degree Applicable, CSU, C-ID #: ARTS 250) Lecture: 36 Lab: 71 Contemporary illustration with an emphasis on story, editorial, and Advisory: ARTD 15A and ARTD 20 advertising applications. Proper uses of illustrative rendering techniques in traditional drawing and painting media, paper, and their integration to Fundamentals of graphic design for the commercial art industry. electronic media. Using professional illustration software, peripherals, Technology, creativity, design, and production. Adobe Photoshop to and color laser printing, students advance to produce more complex produce effective commercial art. illustrations. ARTC 120 Print Design and Advertising ARTC 167 Visual Development 3 Units (Degree Applicable, CSU) 3 Units (Degree Applicable, CSU) Lecture: 36 Lab: 71 Lecture: 36 Lab: 71 Prerequisite: ARTC 100 Prerequisite: ARTC 163 or (ANIM 101A and ARTD 16) Corequisite: ARTD 20 (May be taken previously) Development of conceptual designs for illustration in video games, film, Theories, concepts, and skills for the design and layout of animation, and comic books, using composition, shape, value, and color printed commercial art. Covers typical printed products including as visual tools for storytelling. Students cannot receive credit for both advertisements, flyers, brochures, posters, books, and catalogs. Focuses ARTC 167 and ANIM 167. on using Adobe InDesign with additional exposure to Adobe Photoshop ARTC 169 Contemporary Illustration and Adobe Illustrator.
    [Show full text]
  • Graphic Designer
    Graphic Designer Reports to: Senior Graphic Designer, Marketing Department: Marketing/Communications E/NE Status: Exempt PT/FT Status: FT ABOUT SHM Representing the fastest growing specialty in modern healthcare, the Society of Hospital Medicine (SHM) is the leading medical society for more than 61,000 hospitalists and their patients. SHM is dedicated to promoting the highest quality care for all hospitalized patients and overall excellence in the practice of hospital medicine through quality improvement, education, advocacy and research. Over the past decade, studies have shown that hospitalists can contribute to decreased patient lengths of stay, reductions in hospital costs and readmission rates, and increased patient satisfaction. JOB SUMMARY The Graphic Designer is part of an in-house marketing and communications team to create, design, and present deliverables for the Society’s marketing and advertising and communication efforts. The Graphic Designer will be a key resource for the development of multi-channel marketing solutions through a broad range of specialized design in order to enhance the member experience while also maintaining the SHM brand identity. The Graphic Designer has a comprehensive knowledge of both digital and print design standards with the ability to identify and interpret client/department needs to produce innovative concepts and progressive, future friendly ideas. In addition to being an effective team player, the Graphic Designer is also able to work independently and under the supervision of the Senior Graphic Designer. He/she fully understands the impact of design effectiveness and has demonstrated the ability to translate creative concepts into concrete forms and visual styles through industry best practices and experimental design satisfying target market needs.
    [Show full text]
  • Digital Print Design Strands and Standards
    STRANDS AND STANDARDS DIGITAL PRINT DESIGN Course Description Create and produce digital print projects that communicates and promotes graphic communication. Develop knowledge and skills relative to the graphic design & printing industries. Includes: instruction and hands-on experiences in design, and layout. Instruction includes the use of industry standard graphics software with the Adobe Creative Suite. Intended Grade Level 11-12 Units of Credit 0.5 Core Code 40.10.00.00.046 Concurrent Enrollment Core Code 40.10.00.13.046 Prerequisite Intermediate Graphic Communications Skill Certification Test Number 567 Test Weight 1.0 License Type CTE and/or Secondary Education 6-12 Required Endorsement(s) Endorsement 1 Graphics/Printing Technology Endorsement 2 N/A Endorsement 3 N/A ADA Compliant: August 2018 DIGITAL PRINT DESIGN STRAND 1 Students will be able to understand the introduction to Digital Print Design. Standard 1 Define graphic communications. Standard 2 Define design and its role in graphic communications. Standard 3 Identify the capabilities, advantages, and disadvantages of software programs used in digital print design. Standard 4 Select appropriate software for given print job. Standard 5 Demonstrate an understanding of file formats (.ai, .jpg, .png, .psd, .gif, .tif, .indd, .pdf, etc.), file organization, and file naming conventions. Standard 6 Identify the differences between rater and vector images and file formats. Standard 7 Demonstrate proficiency in the use of measurement systems utilized in the graphic communications industry [points, picas, standard (inches), metric]. Performance Skill Understand the introduction to Digital Print Design. • Define graphic communications. • Define design and its role in graphic communications. • Identify the capabilities, advantages, and disadvantages of software programs used in digital print design.
    [Show full text]
  • Teaching Design Concepts Through Letterpress a Thesis Submitted To
    Teaching Design Concepts through Letterpress A thesis submitted to the School of Visual Communication Design, College of Communication and Information of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts by Robert L. Kelemen August, 2013 Thesis written by Robert L. Kelemen B.F.A., Kent State University, 1987 M.F.A., Kent State University, 2013 Approved by ___________________________ Jerry Kalback, M.S., Advisor, Professor, School of Visual Communication Design ___________________________ AnnMarie LeBlanc, M.F.A., Director, School of Visual Communication Design ___________________________ Stanley T. Wearden, Ph.D., Dean, College of Communication and Information Table of Contents Page TABLE OF CONTENTS ..............................................................................................................iii LIST OF FIGURES .................................................................................................................... iv-v ACKNOWLEDGMENTS ............................................................................................................vi CHAPTER 1. PERSONAL EXPERIENCE .........................................................................................1 Born at the Right Time ........................................................................................1 Well, How Did I Get Here? .................................................................................4 2. STUDENT SURVEY ...................................................................................................10
    [Show full text]