Teaching Syllabus for Graphic Design (Shs 1
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Using Experience Design to Drive Institutional Change, by Matt Glendinning
The Monthly Recharge - November 2014, Experience Design Designing Learning for School Leaders, by Carla Silver Using Experience Design to Drive Institutional Change, by Matt Glendinning Designing the Future, by Brett Jacobsen About L+D Designing Learning for School Leadership+Design is a nonprofit Leaders organization and educational Carla Robbins Silver, Executive Director collaborative dedicated to creating a new culture of school leaders - empathetic, creative, collaborative Dear Friends AND Designers: and adaptable solution-makers who can make a positive difference in a The design industry is vast and wonderful. In his book, Design: rapidly changing world. Creation of Artifacts in Society, Karl Ulrich, professor at Wharton School of Business at the University of Pennsylvania, includes an We support creative and ever-growing list of careers and opportunities in design. They innovative school leadership at range form the more traditional and known careers - architecture the individual and design, product design, fashion design, interior design - to organizational level. possibilities that might surprise you - game design, food design, We serve school leaders at all news design, lighting and sound design, information design and points in their careers - from experience design. Whenever I read this list, I get excited - like teacher leaders to heads of jump-out-of-my-seat excited. I think about the children in all of our school as well as student schools solving complex problems, and I think about my own leaders. children, and imagine them pursuing these careers as designers. We help schools design strategies for change, growth, Design is, according to Ulrich, "conceiving and giving form to and innovation. -
Indesign CC 2015 and Earlier
Adobe InDesign Help Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. Last updated 11/4/2019 iii Contents Chapter 1: Introduction to InDesign What's new in InDesign . .1 InDesign manual (PDF) . .7 InDesign system requirements . .7 What's New in InDesign . 10 Chapter 2: Workspace and workflow GPU Performance . 18 Properties panel . 20 Import PDF comments . 24 Sync Settings using Adobe Creative Cloud . 27 Default keyboard shortcuts . 31 Set preferences . 45 Create new documents | InDesign CC 2015 and earlier . 47 Touch workspace . 50 Convert QuarkXPress and PageMaker documents . 53 Work with files and templates . 57 Understand a basic managed-file workflow . 63 Toolbox . 69 Share content . 75 Customize menus and keyboard shortcuts . 81 Recovery and undo . 84 PageMaker menu commands . 85 Assignment packages . 91 Adjust your workflow . 94 Work with managed files . 97 View the workspace . 102 Save documents . 106 Chapter 3: Layout and design Create a table of contents . 112 Layout adjustment . 118 Create book files . 121 Add basic page numbering . 127 Generate QR codes . 128 Create text and text frames . 131 About pages and spreads . 137 Create new documents (Chinese, Japanese, and Korean only) . 140 Create an index . 144 Create documents . 156 Text variables . 159 Create type on a path . .. -
Miramo®: Reference Guide (9.2)
Miramo® Automated Publishing Reference Guide VERSION 9.2 Copyright © 2000 - 2012 Datazone Ltd. All rights reserved. Miramo® and mmChart are trademarks of Datazone Ltd. All other trademarks are the property of their respective owners. Readers of this documentation should note that its contents are intended for guidance only, and do not con- stitute formal offers or undertakings. ‘License Agreement’ This software, called Miramo, is licensed for use by the user subject to the terms of a License Agreement between the user and Datazone Ltd. Use of this software outside the terms of this license agreement is strictly prohibited. Unless agreed otherwise, this License Agreement grants a non-exclusive, non-transfer- able license to use the software programs and related documentation in this package (collectively referred to as Miramo) on licensed computers only. Any attempted sublicense, assignment, rental, sale or other transfer of the software or the rights or obligations of the License Agreement without prior written consent of Datazone shall be void. In the case of a Miramo Development License, it shall be used to develop appli- cations only and no attempt shall be made to remove the associated watermark included in output docu- ments by any automated method. The documentation accompanying this software must not be copied or re-distributed to any third-party in either printed, photocopied, scanned or electronic form. The software and documentation are copyrighted. Unless otherwise agreed in writing, copies of the soft- ware may be made only for backup and archival purposes. Unauthorized copying, reverse engineering, decompiling, disassembling, and creating derivative works based on the software are prohibited. -
A Guide to Quarkcopydesk 8.5 CONTENTS
A Guide to QuarkCopyDesk 8.5 CONTENTS Contents About this guide...............................................................................9 What we're assuming about you............................................................................9 Where to go for help..............................................................................................9 Conventions..........................................................................................................10 Technology note...................................................................................................10 The user interface...........................................................................11 Menus...................................................................................................................11 QuarkCopyDesk menu (Mac OS only)...........................................................................11 File menu.......................................................................................................................12 Edit menu......................................................................................................................12 Style menu.....................................................................................................................13 Component menu.........................................................................................................15 View menu.....................................................................................................................15 -
Stage 1.X — Meta-Design with Machine Learning Is Coming, and That’S a Good Thing
Dialectic Volume II, Issue II: Theoretical Speculation Stage 1.X — Meta-Design with Machine Learning is Coming, and That’s a Good Thing Steven SkaggS¹ 1. University of Louisville, Department of Fine Arts, Hite Art Institute, Louisville, ky, uSa SuggeSted citation: Skaggs, Steven. “Stage 1.X—Meta-design with Machine Learning is Coming and That’s a Good Thing.” Dialectic, 2.2 (2019): pgs. 49-68. Published by the AIGA Design Educators Community (DEC) and Michigan Publishing. doi: http://dx.doi.org/10.3998/dialectic.14932326.0002.204. Abstract The capabilities of digital technology to reproduce likenesses of existing people and places and to create fictional terraformed landscapes are well known. The increasing encroachment of bots into all areas of life has caused some to wonder if a designer bot is plausible. In my recent book Fire- Signs, ¹ I note that the acute cultural, stylistic, and semantic articulations made possible by current semiotic theory may enable digital resources to work within territories that were once considered the exclusive creative domain of the graphic designer. Such metadesign assistance may be resist ed by some who fear that it will altogether replace the need for the designer. In this article, I first suggest how metadesign might enter the design process, and then explore its use to affect layout and composition. I argue that, at least within that restricted domain, it promises greater creative benefits than liabilities to human graphic designers. 1 Skaggs, S. FireSigns: A Semiotic Theory for Graphic Design. Cambridge, mA, USA: mIt Press, 2017. Copyright © 2019, Dialectic and the AIGA Design Educators Community (DEC). -
Print Design Narrative
Erin Gunter MIT 511 September 21, 2008 Print Design Criterion Document The five pages that I choose to redesign were the table of contents, the title page, a chapter beginning page, a flow chart (family tree) page pertaining to the story, and one page is from the middle of a chapter. The book that I chose was, A Wrinkle in Time by Madeleine L’Engle. This is a popular novel that is read in today’s classrooms. The reason why this book was chosen was due to its lack of a consistent and cohesive design. For a children’s book, the pictures and text are very boring. I originally purchased this book when I was in middle school, but the book has not changed in years, despite the fact that it is a popular children’s novel. The purpose of this redesign is to change the appearance of the book in hopes that with alterations, children will be more motivated to read the book. The following are the list of the different design criterion that I referenced when completing my redesign: BIAS AND OR/CULTURE: This is a fiction book written about a fantasy world. The novel does not exhibit any type of bias. The book is purely a work of fiction. It is not an opinion book and it does not try to push an opinion on someone else. The images and text that were used in the redesign are also free of bias. The constellation graphic and the clock are both relevant to the story in the book. -
Type & Typography
Type & Typography by Walton Mendelson 2017 One-Off Press Copyright © 2009-2017 Walton Mendelson All rights reserved. [email protected] All images in this book are copyrighted by their respective authors. PhotoShop, Illustrator, and Acrobat are registered trademarks of Adobe. CreateSpace is a registered trademark of Amazon. All trademarks, these and any others mentioned in the text are the property of their respective owners. This book and One- Off Press are independent of any product, vendor, company, or person mentioned in this book. No product, company, or person mentioned or quoted in this book has in any way, either explicitly or implicitly endorsed, authorized or sponsored this book. The opinions expressed are the author’s. Type & Typography Type is the lifeblood of books. While there is no reason that you can’t format your book without any knowledge of type, typography—the art, craft, and technique of composing and printing with type—lets you transform your manuscript into a professional looking book. As with writing, every book has its own issues that you have to discover as you design and format it. These pages cannot answer every question, but they can show you how to assess the problems and understand the tools you have to get things right. “Typography is what language looks like,” Ellen Lupton. Homage to Hermann Zapf 3 4 Type and Typography Type styles and Letter Spacing: The parts of a glyph have names, the most important distinctions are between serif/sans serif, and roman/italic. Normal letter spacing is subtly adjusted to avoid typographical problems, such as widows and rivers; open, touching, or expanded are most often used in display matter. -
A Peek Inside the Tent Overview
A Peek Inside the Tent Overview All about you Cost and Resources Overview of The Circus Recommendation Career Services Admissions Requirements Program Curriculum The Tour Our Mission The mission of The Creative Circus is to graduate the best prepared, most avidly sought after creatives in the industry. The 411 2 Year Certificate Program 210+ Students Founded in 1995 Fully Accredited by C.O.E. Bridge Gap Between Education and Industry Location/Environment What Employers Say How We’re Different Learn By Doing Integrated, Collaborative Programs Individual Attention/Class Size Student Competitions 7 Full-Time Dedicated Faculty Members Scheduling/Homework Part-Time Industry Pros The ‘Nice School’ Career Services Placement Statistics Graduates and Completers working in their field of study within six months of graduation: Forums Program 09-10 10-11 11-12 Mentors Art Direction 96% 100% 96% Portfolio Reviews Design 88.57% 100% 90% Copywriting 96.55% 100% 98% Local and National Networking Image 91.67% 100% 88% Interactive Development N/A N/A 100% Interactive Design N/A N/A N/A Average 93.07% 100% 94.53% Creative Circus Portfolio Review Industry Salaries 2013 The Creative Group 2013 Salary Guide INTERACTIVE STARTING SALARIES CREATIVE & PRODUCTION STARTING SALARIES TITLE LOW HIGH TITLE LOW HIGH Informaon Architect $80,500 $120,750 Copywriter (1 to 3yrs) $40,000 $55,000 User Experience Designer $55,000 $110,000 Copywriter (3 to 5yrs) $56,500 $73,250 Junior Interac0ve Designer $40,000 $55,000 Copywriter (5+ yrs) $72,750 $102,750 Senior Interac0ve Designer -
Rethinking the Book
Rethinking the Book David L Small B.S., Cognitive Science, MIT (1987) S.M., Visual Studies, MIT (1990) Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the Degree of Doctor of Philosophy, Massachusetts Institute of Technology January 1999 Massachusetts Institute of Technology © 1999 Massachusetts Institute of Technology. All Rights Reserved. David L Small Program in Media Arts and Sciences January 8, 1999 William J. Mitchell Dean, School of Architecture and Planning Stephen A. Benton Chair, Departmental Committee on Graduate Students, Program in Media Arts and Sciences Rethinking the Book David L Small Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on January 8, 1999 in partial fulfillment of the requirements for the Degree of Doctor of Philosophy. abstract Electronic media have lagged behind their paper progenitors in the clear, usable display of large bodies of information. New visual lan- guages have been created for information display which exploit the computer's unique ability to render dynamic and three-dimensional typography. These languages demonstrate that the use of three dimensional form, expressive movement, visual focus and layering, in harmony with human perceptual abilities, improve navigation and contextual understanding of complex written documents. This thesis shows that graphic displays can be combined with physical interfaces to create interactions with purely typographic informa- tion -
Books About Music in Renaissance Print Culture: Authors, Printers, and Readers
BOOKS ABOUT MUSIC IN RENAISSANCE PRINT CULTURE: AUTHORS, PRINTERS, AND READERS Samuel J. Brannon A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2016 Approved by: Anne MacNeil Mark Evan Bonds Tim Carter John L. Nádas Philip Vandermeer © 2016 Samuel J. Brannon ALL RIGHTS RESERVED ii ABSTRACT Samuel J. Brannon: Books about Music in Renaissance Print Culture: Authors, Printers, and Readers (Under the direction of Anne MacNeil) This study examines the ways that printing technology affected the relationship between Renaissance authors of books about music and their readers. I argue that the proliferation of books by past and then-present authors and emerging expectations of textual and logical coherence led to the coalescence and formalization of music theory as a field of inquiry. By comparing multiple copies of single books about music, I show how readers employed a wide range of strategies to understand the often confusing subject of music. Similarly, I show how their authors and printers responded in turn, making their books more readable and user-friendly while attempting to profit from the enterprise. In exploring the complex negotiations among authors of books about music, their printers, and their readers, I seek to demonstrate how printing technology enabled authors and readers to engage with one another in unprecedented and meaningful ways. I aim to bring studies of Renaissance music into greater dialogue with the history of the book. -
Design the Design Book 36 Fashion the Anatomy of Fashion 38 The
Art Design Art & Place 2 The Design Book 36 The Chinese Art Book 4 Art as Therapy 6 Fashion Wild Art 8 The Anatomy of Fashion 38 Art Cities of the Future 10 The Fashion Book (New Edition) 40 Architecture Carlo Scarpa 12 Travel Wallpaper* City Guides 42 General Non-Fiction My World, Your Future 14 Cahiers du cinéma Anatomy of an Actor: Wine Bar Theory 16 Jack Nicholson 44 Meryl Streep 45 Children’s Books Architecture According to Paperbacks Pigeons 18 Art & Today 46 Hervé Tullet: The Big Book Magnum Stories 46 of Art 20 Mary Ellen Mark: Beatrice Alemagna: Bugs Seen Behind the Scene 46 at Christmas 21 Nicholas on Holiday 47 Food/Cook Nicholas in Trouble 47 Alex Atala 22 The Taste of America 24 Coi 26 Photography Steve McCurry Untold: The Stories Behind the Photographs 28 Nan Goldin: Eden and After 30 Bernhard Edmaier: EarthArt 32 Martin Parr 34 All prices subject to change La Universidad Autonoma Art & Place Artist Location Date Site-Specific Art of the Americas Conceived and edited by Phaidon Editors Storm King Art Center is in the lower Hudson Valley, 55 miles north of Manhattan. It was founded in 1960 by businessmen Ralph E. Ogden (1895- 1974) and H. Peter Stern. Since that time it has grown into a world-class collection of twentieth and twenty- first century sculpture installed in 500 acres of landscaped lawns, hills, fields and woodlands. Located between the Schunnemunk and Storm King mountains, the grounds are surrounded in the distance by the Hudson Highlands, a range of low- • An extraordinary collection of outstanding art destinations in the Americas, visited lying mountains, which provide a dramatic backdrop of sky and land for 320 x 270 mm the works. -
BASIC BOOK DESIGN How to Make Your Book, Document, Or Newsletter Look Professional
BASIC BOOK DESIGN How to Make Your Book, Document, Or Newsletter Look Professional by Thomas David Kehoe and other Wikibooks contributors License & Distribution From Wikibooks, the open-content textbooks collection © Copyright 2003–2006, Wikimedia Foundation Inc. and con tributing authors, all rights reserved. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Document License, version 1.2. A copy of this is in cluded in the section entitled GNU Free Document License. The current version of this Wikibook may be found at: http://en.wikibooks.org/wiki/Basic_Book_Design TABLE OF CONTENTS About The Authors..................................................................i DOCUMENTS.......................................................................1 Software Applications........................................................1 “Art” vs. Readability..........................................................3 Fonts...................................................................................4 Leading...............................................................................8 Justification........................................................................ 9 Page Size.......................................................................... 10 Margins............................................................................ 11 Headers, Footers, And Page Numbers............................. 12 Number of Pages.............................................................. 14 CHAPTERS........................................................................