Instructor
Philip DiBello
pdibello@sva.edu

Course Description
This course will provide a emphasis on developing your sensitivity to typography through both restrictive and open-ended assignments. Projects will be a combination of experimentation and formal exercises with a focus on typographic systems. Together we will discover the details of macro and micro typography.
 Theory, dialogue, process and personal practice will be central themes discussed to establish your own opinions about design. Classes are a combination of critique, in-class workshops, and one-on-one meetings with occasional guest lectures and critiques.
 Throughout the semester readings will be assigned along with each project. They are central to your comprehension of the task at hand. There is often a clue or process within these readings that will unlock the assignment. Read them carefully.

Student Expectations
This course is constructed for a higher level junior design student. It assumes you already have knowledge of fundamental design and typographic principals. Some assignments will be open ended. You must take initiative in every project and make it your own. You’re expected to engage in critique, both by giving and receiving feedback.
 Your level of effort will dictate your success in this class. You must be disciplined and self-motivated. To get good work here or anywhere you must put in the time.
 This is a space to discuss and understand graphic design. Understand you’re here for yourself. Not to please your peers, or your professors, or other outside sources. We will intentionally subvert “real world” concerns, they mean nothing to what we can achieve in the classroom.
 Attendance is critically important to the success of your assignments and your letter grade. You’re required to be in class at it’s start time. Once you walk into the classroom please display your work before you do anything else. It should be hung on the wall, uploaded to the class computer, or set on a table and prepped for presentation. Take pride in your work and display it properly, hang things straight and in an orderly grid, etc.

Attendance Policy
You’re given one absence without repercussion. Missing a second class is an automatic C. If you miss three classes you will be withdrawn from the course, no exceptions. Tardiness will not be tolerated. Class starts promptly at 3:20, and the classroom door will be closed at 3:30. If the door is closed you are not permitted to enter and your tardiness will be counted as an absence.

Grading Breakdown
Grades are a combination of the quality of your work, class participation and progress. Simply showing up will not make you pass the course. You must be prepared for the days lesson, completing any homework or readings assigned and ready to discuss.

A
Your work is of exceptional quality and reflects mastery of the material covered in class. Your class participation is outstanding. Your craft is impeccable and you find ways to push design and materiality. You consistently add something new to every project or push your capabilities. Your work steadily improved throughout the semester.

B
Your work is very good and satisfies the goals of the course. You participate in class discussion. Continue to refine your craft, and find those moments to take initiative in any given project and push it beyond it’s boundaries.

C
Your work meets the standards of the course. You could speak up or engage more often during class discussion. Be willing to take more chances with craft and production. You turn in assignments and did not miss more than one class.

F
Your work did not meet the requirements for this class. You did not complete all projects or missed 3 classes. You will receive no credit.


Academic Integrity
Academic dishonesty, including plagiarism, will not be tolerated. Students found to have committed an act of academic dishonesty will fail the assignment for which an infraction is suspected and substantiated. More serious violations will be handled through the process enumerated in the SVA Handbook. Put simply, make sure your work is your own.

Students with Disabilities
SVA is committed to providing students with access to their academic programs and courses. If you are a student with a disability and require accommodations, you must register with Disability Resources by visiting sva.edu/disabilityresources and completing an online accommodation request. To be eligible for accommodations in this course, students must provide the instructor with a letter of accommodation from Disability Resources. For questions or assistance, please call Disability Resources at 212-592-2396, or visit the office: 340 East 24th Street, New York, NY 10010, or email disabilityservices@sva.edu

SVA Attendance Policy
The SVA Handbook says: The School of Visual Arts is a professional art college dedicated to teaching and learning. Attendance is required in all courses, and the individual faculty member determines the number of acceptable absences, if any.
 All students are expected to participate and keep their cameras on for the duration of all synchronous class sessions. Failure to do so may result in reduction of grade, at the discretion of the faculty, unless the student has received permission in advance from the faculty member. Students should refer to the “netiquette” section in the Student Knowledge Base to familiarize themselves with best practices for online learning.

Pronouns and Chosen Names
Students may indicate their pronouns and preferred/chosen first name through MyServices; this information will then appear on class rosters (go to: https://myservices.sva.edu/Student/UserProfile and select "Edit Personal Identity").
 Please let your instructor know the preferred name and pronouns by which you would like to be referred, if that information does not already appear on the roster. A student’s chosen name and pronouns should be respected at all times.

Suggested Books
Designing Books by Jost Hochuli ➺PDF
Detail In Typography by Jost Hochuli ➺PDF
The Vignelli Canon by Massimo Vignelli ➺PDF
The Elements of Typographic Style by Robert Bringhurst ➺PDF
Typographie: A Manual of Design by Emil Ruder
The New Typography by Jan Tschichold
Grid Systems / Raster Systeme by Josef Müller-Brockmann
The Typographic Desk Reference By Theo Rosendorf
Designing Type by Karen Cheng
Seeing Is Forgetting the Name of the Thing One Sees by Robert Irwin
Design and Crime (And Other Diatribes) by Hal Foster
Multiple Signatures by Michael Rock
Design as Art by Bruno Munari

Suggested Websites
Butterick’s Practical Typography
Don’t Fear the Internet: Basic HTML & CSS
The Elements of Typographic Style (Web)
Programming Design Systems

Type Resources
Type Resources
✳ Classics
—ITC
—Monotype
—Font Shop
—Linotype
—URW++

✳ Foundries & Independent Type Designers
—Commercial Type
—Klim Type Foundry (Kris Sowersby)
—Grilli Type
—Swiss Typefaces
—Colophon Foundry
—Optimo
—Lineto
—Our Type
—Tobias Frere-Jones
—Hoefler & Co.
—Production Type
—Letters From Sweden
—Playtype
—Bold Monday
—A2 Type
—Open Foundry (decent, free fonts)

✳ Newer Foundries & Contemporaries
—Dinamo
—Radim Pesko
—Milieu Grotesque
—Schick Toikka
—Camelot Typefaces
—Medium Extra Bold
—Or Type
—Oh No Type Co.
—Future Fonts
—A is for

Oftentimes graphic design is reduced to the visual. A viewer encounters a piece of ephemera with a common set of pre-conceived notions in history, culture and their own semiotic view of the world. They have to internalize the visual based in-part (mostly) on the formal aspects they see and in what context it’s viewed. Unbeknownst to the passerby, the designer has followed multiple paths of decisions that lead them to their final solution.
 The point is, the designers process is hidden when the project is delivered, the ink has dried, the code is rendered by the browser… these paths they’ve traveled lay on the cutting room floor. The classroom is different. We have a unique opportunity to discuss the ‘why’ just as much as the ‘what’. This discussion will help shape what ‘design’ is to you. As you continue your practice you will learn, challenge yourself, change your mind, and develop your process.



In our first class you will draw a card from Oblique Strategies. You are to use this card as a prompt to design a type–dominant 18×24 in. poster. If you are feeling stuck, consider drawing a second card to see how that may change your thinking. Make note of which card you drew, and use that strategy to iterate or fully redesign your initial poster. Rinse and repeat until you are happy with your final approach and outcome.
 In addition to your full size posters you must bring in 20 sketches that visualize your process. These could be (but not necessarily have to be) drawings of different concepts, quick explorations done on the computer of the same concept, a documentation of the poster in different forms before your final compositions were realized, etc. Present these as 8.5×11 in single sheet print-outs.
 Allow the process to lead you to unexpected places. The narrative you walk us through, your process, is of equal importance to your final design. Be ready to present your poster with a rationale for the typeface you’ve chosen, an explanation of your concept, and how the poster evolved based on any subsequent cards you drew.

Deliverables
1. Final, full size poster
 18×24" tiled
2. 20 Sketches
 8.5×11" sketches or b+w print-outs
3. 5 notes/thoughts/passages from Designer as Author



Background
Read Michael Rock’s essay Designer as Author. Michael Rock is one of three founders of 2×4, a design consultancy located in New York and Beijing. He is a leader in design criticism and writing. His essays and thoughts will accompany this semesters assignments.
 Designer as Author was written in the mid 1990’s when Graphic Design was questioning what it was as a profession. Rock considers the role of the designer thoroughout his essay.
 As you read, write down certain notes, thoughts & opinions and highlight passages throughout the text. Be prepared to discuss 5 points. Consider Rock’s point of view.



In 1975 artists & musicians Brian Eno and Peter Schmidt collaborated on a project titled Oblique Strategies. Inspired by the readings of I Ching, the two published a set of cards used to generate ideas and break routine thinking patterns.

“While born out of a studio context, Oblique Strategies translated equally well to the music studio. For Eno, the instructions provided an antidote in high-pressure situations in which impulse might lead one to default quickly to a proven solution rather than continue to explore untested possibilities: “Oblique Strategies evolved from me being in a number of working situations when the panic of the situation—Particularly in studios—tended to make me quickly forget that there were others ways of working and that there were tangential ways of attacking problems that were in many senses more interesting than the direct head-on approach.”
Brian Eno: Visual Music, Christopher Scoates



Now on their fifth edition, Oblique Strategies have been published in English, French and Japanese. Each edition changes slightly, adding or removing different cards. If you're interested in learning more, Gregory Taylor has put together a fine website documenting the editions and pulling together some more information about the deck.

Read ‘Observations From a Fixed Position’ by James Langdon. You are to make two printed editions of the essay. Interpret the text when making design decisions such as defining your grid, choosing a typeface and gathering content, images or resources. Consider your interpretation of the text when choosing size, format, printing technique, binding, etc. Edition one requires you to use as little agency as possible. Edition two requires you to use as much agency as you would like.
 There are specific requirements for each edition. At least one publication should have a title page, index and colophon. It should also have running headers and folios for the text section. Each book should be a minimum of 50 pages. It should be a book–ish book, not a saddle stitched pamphlet. If you want to bulk up your book consider adding supplemental material.



This week you will focus your efforts on one version. Define a general concept and design the full edition. If you are designing your ‘less agency’ version include a title page, index and colophon. Print out your edition to scale in full, all pages typeset, designed and bound loosely with binder clips or other fasteners. Be ready to explain how your decisions relate to your interpretation of the text and how your ‘agency’ comes into play. We will review as a class, focusing on concept and execution. Lastly, bring three notes or highlights from the The Debate (p.19-42). If you are having trouble starting your book design consider reading Jost Hochuli’s Designing Books and Detail in Typography for reference.

Checklist—
➺ Full Essay Typeset
➺ Consider format & organization of content
➺ Define typographic system
➺ Consider artwork/image selection and treatment
➺ Define margins & grid
➺ Design front & back covers



Our North Star is Wim Crouwel and Jan Van Toorn’s The Debate (p.19-42). These two designers faced off during a debate, specifically discussing their process and approach to graphic design. In the most reductive sense, this assignment asks you to approach one edition in Crouwel’s mindset and the other in Van Toorn’s.
 If you’re struggling with the ‘agency’ component of this assignment, consider… How would Crouwel do it? How would Van Toorn do it? This whole of this experiment does not have to do with style, more so with process or approach.

Wim Crouwel
is a Dutch graphic designer, type designer, and typographer. Between 1947 and 1949, he studied Fine Arts at Academie Minerva in Groningen, the Netherlands. In addition, he studied typography at what is now the Gerrit Rietveld Academie in Amsterdam. Crouwel's graphic work is especially well known for the use of grid-based layouts and typography that is rooted in the International Typographic Style.

Jan van Toorn
is a Dutch graphic designer. His designs persistently call attention to their status as visual contrivances, obliging the viewer to make an effort to process their complexities. Van Toorn wants the public to measure the motives of both the client and the designer who mediates the client’s message against their own experiences of the world. He hoped in this way to stimulate a more active and skeptical view of art, communication, media ownership and society. Projects such as Van Toorn’s posters and catalogues for the Van Abbemuseum in Eindhoven and his long-running series of calendars for the printing firm Mart.Spruijt are powerful demonstrations of graphic design used as a means of commentary and as a tool of critique.



The following text in circulation, ‘Observations From A Fixed Position’ by designer and writer James Langdon, was first published in December 2015 in Bricks from the Kiln #1 alongside contributions by Ron Hunt, Natalie Ferris, Ralph Rumney, Mark Owens, Jamie Sutcliffe, Iain Sinclair,Traven T. Croves (Matthew Stuart & Andrew Walsh-Lister), Parallel School, Catherine Guiral, and Max Harvey, He Pianpian & LiYou. Now out of print, the text is reproduced here in April 2020 as a free PDF distributed via the BFTK website (www.b-f-t-k.info).
 The accompanying image overleaf—scaled to 75% of its original size—was originally included in BFTK#1 as a loose gloss insert slipped between pages 44–45.The image is a composite made by combining one colour separation—cyan, magenta, yellow, black—from four different photographs. The photographs were taken by Stuart Whipps from a fixed position—a camera permanently mounted on a bracket on the wall at Eastside Projects, an exhibition space in Birmingham—over the course of two months of the exhibition Narrative Show (C:15 May 2011, M:23 May 2011,Y:10 June 2011, K:15 July 2011). Elements in the space that remain unchanged, such as the light fittings on the ceiling, resolve into full colour. Elements that change, such as the mobile walls, appear only in one or two separations.
 Bricks from the Kiln is an irregular journal/multifarious publishing platform edited / run by Matthew Stuart and Andrew Walsh-Lister. For information on forthcoming issues, titles, events and updates please visit www.b-f-t-k.info, join the mailing list and/or follow on twitter @b_f_t_k.

This week you will focus your efforts on your second version. Define a general concept and design the full edition. If you are designing your ‘less agency’ version include a title page, index and colophon. Print out your edition to scale in full, all pages typeset, designed and bound loosely with binder clips or other fasteners. Be ready to explain how your decisions relate to your interpretation of the text and how your ‘agency’ comes into play. We will review as a class, focusing on concept and execution.

Checklist—
➺ Full Essay Typeset
➺ Consider format & organization of content
➺ Define typographic system
➺ Consider artwork/image selection and treatment
➺ Define margins & grid
➺ Design front & back covers

There seems to be a disconnect in class at the moment between expectations and what we’re exploring. I have a feeling we’re moving too fast and some important things aren’t landing. We’re going to pause on the two texts assignment and do something different.

Class WILL NOT be held at No ideas Studio. We will have class in our usual classroom. Please DO NOT print your work next week. This doesn’t mean to stop working. Continue to define your approach to each of your editions and refine your designs. We won’t be directly criting your work. Please purchase the following materials for class (these can be found at any art supply store near you):
➺ An awl
➺ A bone folder
➺ A non-slip ruler
➺ A Book binding needle
➺ Book binding thread

Please re-read ‘Observations From a Fixed Position’ by James Langdon. Write 5 key takeaways, themes or concepts that you find most interesting. Create a list or mind map of at least 20 free associations from your themes. Bring these in as notes.

CLASS AGENDA
3:30-4pm: Four Proposals
4-4:30pm: Signature Workshop
4:30-6:20pm: Field Trip

We will hold class in our regular classroom at SVA. Re-consider your work so far and decide what is worth keeping and what can be expanded on. Print out your edition to scale in full, all pages typeset, cut to your page size, designed and bound loosely with binder clips or other fasteners. Be ready to explain how your decisions relate to your interpretation of the text and how your ‘agency’ comes into play. Use your mind map from last week to lock into a theme you’ve pulled from the essay. We will review as a class, focusing on concept and execution. Read Jost Hochuli’s Designing Books and Detail in Typography for reference.

Checklist—
➺ Both versions Printed
➺ Consider your theme, interpretation & agency
➺ Consider format & organization of content
➺ Define typographic system
➺ Consider artwork/image selection and treatment
➺ Define margins & grid
➺ Design front & back covers

Consider what you need most help with this week, either from a design perspective, if you’re struggling with production, your concept, etc. You are at the point where you need to start thinking about your book as an object. Consider binding and production techniques. This class’ crit will be focused soley on design details. Read Jost Hochuli’s Designing Books and Detail in Typography for reference. Class will be held as small groups at No Ideas. Sign up for a group here.

Checklist —
➺ Format and thickness
➺ Proportions of Spread
➺ Margins & Grid
➺ Typeface Selection
➺ Text Setting
➺ Paper, Printing, Production
➺ Binding
➺ Front & Back Covers
➺ Object Quality as a Whole

This is the final week for your Two Texts assignment. Finish your designs, then print and bind both of your editions. We will review your final work as a class.

Choose a song and create a type animation for the track. Your Type Animation’s emphasis should be on typography and the lyrical content of the song. Upload your work to this Google Drive Folder.

Next week show a 8-10 page PDF presentation outlining:
1. The song you’ve chosen
2. A slide about the artist
3. Why you like this song
4. Three themes that are present
5. How you’re visualizing the three themes
6. What typeface you’re using
7. A Specimen of the typeface
—A–Z upper and lowercase and punctuation
8. Three unique features of the typeface
—Details you think make it relevant for the song

and 15-30 second video test, perferably using the chorus or refrain from the song.


The “lyric video” has humble origins as fan made ephemera. Since it’s birth it has become a pervasive form of content across social media and video sharing sites. At first many record labels fought to remove un-copyrighted material, but have since given up the battle. Record labels are now producing their own form of the “lyric video”, uploading hastly made clips of scrolling text and stock footage to gin up impressions and ad revenue around a newly released single. Either produced in a bedroom or a advertising agency, somehow the “lyric video” aesthetic has remained consistent in both fan videos and produced videos alike.
Part of the homogenization of this aesthetic is access to motion graphics applications like iMovie, After Effects, Keynote, etc. These programs create simple, smooth animation with built-in presets.
This assignment challenges you to reinvent the medium of the lyric video. Because of this, your restriction is that you can not directly use after effects or any other motion graphics programs to create the animation for your videos. They can be only used for compositing your footage. Your goal is to find creative, visually appealing ways around this restriction while also expressing the themes present within the song, and choosing an appropriate typeface to deliver the message.


Background
Read the Gradient article with Eric Timothy Carlson and Emmet Byrne discussing the design process of Bon Iver’s 2016 album “22, a million”. Pay specific attention to the section where they discuss lyric videos and the internet. The following videos pass the restrictions of this assignment.

Take todays feedback into consideration and make changes to your type choice and movement. For next week, finish half of your type animation. However long your song is, complete half the track. Upload your work to this Google Drive Folder.


BACKGROUND
Saul Bass was an American graphic designer and Oscar-winning filmmaker, best known for his design of motion-picture title sequences, film posters, and corporate logos.
During his 40-year career, Bass worked for some of Hollywood’s most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. Among his best known title sequences are the animated paper cut-out of a heroin addict’s arm for Preminger's The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock’s North by Northwest, and the disjointed text that races together and apart in Psycho.
Pay close attenton to his later work, the title sequences he created for director Martin Scorsese. Theres a sensitivity to typography and subject prevelent in these sequences. His type animations are very traditional, but their movement, typographic choices, and overall tone & feeling match the films closely.

Cape Fear (1991)
Directed by Martin Scorsese


Casino (1995)
Directed by Martin Scorsese

Take todays feedback into consideration and make changes to your type choice and movement. For next week, finish your entire type animation. However long your song is, complete the full track. Upload your work to this Google Drive Folder.

Design a solo exhibition for an artist. You’re the designer & curator. You decide what the show is called, what 20 pieces are in the exhibition, and what the identity and supplemental materials look like. Don’t pick an obvious artist. Don’t choose someone you already know and are fond of. Avoid clichés and known celeberity artists. Visit a museum or gallery. Take a walk around and find something that gets you excited. Note the artist, and try to find as many pieces in the location by that person.

RESEARCH PRESENTATION
Research and explore an artists work. Show your research in the form of presentation slides. Tell us about who your artist is, what you like about their work or what you find interesting about them as a person. Upload your 5-10 minute presentation to this Google Drive Folder. You can design in Indesign, Google Slides, Keynote, etc. Whatever the case, your presentation should be well designed (please do not use default presentation templates). You have the option to show a video presentation rather than presenting live in class.
 This is not a book report (!) This is a documentation of your experience of discovering a new artist. Design it, make it entertaining for us. It should not be dry or boring. It should be insightful and personal. You must answer the following questions, at least one slide per question—
1. Who are they?
2. What is their background?
3. Where did they come from/what’s their story?
4. What context was the work shown originally (gallery, museum, outdoors, etc)?
5. At least 10 slides of their work
6. A deep analysis of three pieces (guide)
7. What themes are present in their work?
8. What drew you to what they’ve made?
9. How does it make you feel?

EXHIBITION CURATION & THEME
Next, begin to think about your exhibition. Consider the artists work; How will you organize the show? What 20 pieces will you include? What tie these pieces together in a cohesive way? Establish 5 adjectives that characterize the meaning, tone, and primary aesthetic qualities of your artist’s work. Present the following:
— 5 adjectives that characterize your artists work
— 3 potential titles for your exhibition
— Select 20 pieces you will feature in the exhibition
— 1 moodboard to organize your thoughts visually





BACKGROUND
It’s not required, but I highly recommend choosing an artist from the collection of Dia:Beacon.Their permanent collection of 60’s to now modern art is incredible, and there are plenty of artists you can explore for this project. DIA’s galleries are specifically designed for the presentation of one artists work, so you’ll see more than one of their pieces in person.

 Dia:Beacon Hours
 November–December
 Thursday–Monday, 11am–4pm
 Closed Tuesdays & Wednesdays year-round

Take the Metro North at Grand Central Terminal, which costs $36.50. If you get a package with your Metro North ticket admission into the museum is only $6. But the museum is amazing! and the town is nice! Especially if you’ve never visited upstate before! Seriously, really try to get there, it will be worth it. Give yourself as much time as possible.



GALLERIES
Chelsea
DUMBO

MUSEUMS
The Whitney
MoMA PS1
The MET
MET Breuer
The New Museum
Gugenheim
Cooper Hewitt Smithsonian Design Museum
Jewish Museum












TIPS
If you’re having trouble analyzing the work use this as a guide. You will need either your own photographs or images you find through your research for this project. If there is already professional photography of the work in question it will make gathering content for your publication easier. Choosing someone showing at Dia:Beacon means they will likely have a large body of work, it will be easily sourcable, and finding an essay exploring their work will be readily available.

EXHIBITION IDENTITY
You are to create an identity for your exhibition. The identity should consist of a lockup, featuring the title of the show and the artists name. Building on the lockup, you are to develop a typographic system for the identity. What will the body text of the publication be set in? What will work for captions? Apply (photoshop) your graphics on the wall of the exhibition for context.

EXHIBITION PUBLICATION
You are to create a publication for your exhibition. It can be any size or material you would like, but it must be printed. It should include at least 20+ pieces of artwork. It should include a foreword about the artist, minimum 15 pages. Find an essay, interview, review of their work, a show, or some other longform piece of writing about the artist and use that for your content. This piece of writing should not be their wikipedia page, or their biography. It should be a text examining the work or artist in question.

EXHIBITION POSTER
You are to create a poster for your exhibition. It’s dimensions are 24×36". Imagine this poster would be wheatpasted around New York, or as an advertisement in the subway.

THIS WEEK
Start designing your exhibition identity keeping your research and analysis in mind. Design a type lockup for your exhibition title and build a typographic system around these decisions. Consider how your interpretation of the exhibition translates to layout and materials.
 Next week design two completely different directions for your book and poster. Your directions should differ both conceptually and visually. Each direction should have a 3-5 sentence explanation of your concept and how it relates to your design, a title page including your lockup, 3 spreads of your essay typeset, and 3 spreads of how you will treat artwork pages, a poster sketch 24×36", and a ticket design. Your essay and supplemental content should be informed by your research. Your artwork pages should establish a system of how you will title and caption the pieces.
 This assignment is about your identity system; But it’s really about typography. Your identity should support the work in question. It should not imitate it. It should not crowd it. It’s your job to find that balance, or more importantly what that balance means to you.

DELIVERABLES
Print your materials to scale for the following...
—3-5 sentence explanation of concept
—Exhibition Title Wall Lockup
—3 spreads of your essay typeset
—3 spreads of artwork pages
—Poster sketch 24×36" (can be printed on 11x17")
—Ticket Design





BACKGROUND
Our main reading for this assignment is James Goggin’s essay titled “The Matta Clark Complex”. James discusses book design and materiality using American artist Gordon Matta–Clarke as an example.
 James Goggin is a Providence-based British and/or Australian graphic designer and teacher from London via Sydney, Stockholm, Copenhagen, Auckland, Arnhem, and Chicago. He runs a design practice named Practise, together with partner Shan James, working on books, websites, identity systems, exhibitions, typefaces, videos, textiles, posters, magazines, signs, and symbols in Europe, Asia, Australasia, and North America. James teaches at Rhode Island School of Design, writes now and then, and lectures here and there.

Continue to design your exhibition identity, and preapre your publication fully designed including the front and back cover, graphics mocked-up on a title wall, poster, ticket and any supplemental material you may like to design or add outside of the project requirements (for example: videos, tickets, pamphlets, etc). Print your work and be prepared to review with the class. Bring in paper samples, cover options, and any other materials that will help us visualize your design decisions for the exhibition.

REQUIREMENTS

1. Exhibition Lockup
—Graphics applied to title wall

2. Exhibition Publication
—Foreword required, minumum 15 pages
—Feature 20+ pieces of artists artwork

3. Exhibition Poster
—24×36"
 Must include:
—Title of show
—Dates show is running
—Location
—Museum/gallery logo

3. Exhibition Ticket


Exhibition Identity & Title Wall
You are to create an identity for your exhibition. The identity should consist of a lockup, featuring the title of the show and the artists name. Building on the lockup, you are to develop a typographic system for the identity. What will the body text of the publication be set in? What will work for captions? Apply (photoshop) your graphics on the wall of the exhibition for context.

Exhibition Publication
You are to create a publication for your exhibition. It can be any size or material you would like, but it must be printed. It should include at least 20+ pieces of artwork. It should include a foreword about the artist, minimum 15 pages. Find an essay, interview, review of their work, a show, or some other longform piece of writing about the artist and use that for your content. This piece of writing should not be their wikipedia page, or their biography. It should be a text examining the work or artist in question.

Exhibition Poster
You are to create a poster for your exhibition. It’s dimensions are 24×36". Imagine this poster would be wheatpasted around New York, or as an advertisement in the subway.




Background
Identity design is an important component of this assignment. Developing a visual language around the artists work is the main objective. But you also have an opportunity to consider the full design of the exhibition. You job doesnt need to stop at typography. Take a look at the work of Fraser Muggeridge studio, Graphic Thought Facility, or Wkshps. Consider the design as a whole. If you have any other ideas that can push your project further, explore!

Finish designing your exhibition identity, print and bind your book, mock up your title wall, print your full poster at 24×36", and create any supplemental material you may like to design or add outside of the project requirements (for example: videos, tickets, pamphlets, etc).

REQUIREMENTS

1. Exhibition Lockup
—Graphics applied to title wall

2. Exhibition Publication
—Foreword required, minumum 15 pages
—Feature 20+ pieces of artists artwork

3. Exhibition Poster
—24×36"
 Must include:
—Title of show
—Dates show is running
—Location
—Museum/gallery logo

4. Exhibition Ticket


Exhibition Identity & Title Wall
You are to create an identity for your exhibition. The identity should consist of a lockup, featuring the title of the show and the artists name. Building on the lockup, you are to develop a typographic system for the identity. What will the body text of the publication be set in? What will work for captions? Apply (photoshop) your graphics on the wall of the exhibition for context.

Exhibition Publication
You are to create a publication for your exhibition. It can be any size or material you would like, but it must be printed. It should include at least 20+ pieces of artwork. It should include a foreword about the artist, minimum 15 pages. Find an essay, interview, review of their work, a show, or some other longform piece of writing about the artist and use that for your content. This piece of writing should not be their wikipedia page, or their biography. It should be a text examining the work or artist in question.

Exhibition Poster
You are to create a poster for your exhibition. It’s dimensions are 24×36". Imagine this poster would be wheatpasted around New York, or as an advertisement in the subway.

Please create a PDF with your work from the semester. Upload everything by Sunday, December 19th. If it is a physical object, please photograph the final result. Upload your final type animation and the PDF of your work to Google Drive in a folder labeled with your name.