Course
Intermediate Type II
DSD-3612-F

Tuesdays
03:20PM – 06:10PM
01/14/25 – 04/29/25

School of Visual Arts
209 East 23 Street
Room 302 Studio


Instructor
Philip DiBello
Partner, No Ideas
philip@noideas.biz


Course Description
This course will provide an emphasis on developing your sensitivity to typography. We will discuss when and why certain typographic choices feel relevant, and how they are employed in your design. This will be accomplished by both restrictive and open-ended assignments. Projects will be a combination of formal and experimental exercises with a focus on typographic systems. Together we will discover the details of macro and micro typography.
   Central discussion themes of this course include theory, dialogue, process and personal practice. The goal is to inform your personal opinion about design. Classes are a combination of critique 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. Read them carefully and do your best to challenge the thoughts written within the essay.


Student Expectations
This course 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 and effort. This is a space to discuss graphic design in it’s purest form. You’re here for yourself. Not to please your peers, or your professors, or other outside sources. In this classroom we will intentionally subvert “real world” concerns.
   Know there will be general costs required for materials such as paper and color prints as well as hand tools like knives, blades and rulers. Craft is a critical component to your assignments, understand that frayed, crumpled, ripped and uneven work is not acceptable.
   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
At SVA the individual faculty member determines the number of acceptable absences, if any. My policy is as follows: 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. Attendance will be recorded at 3:30 and not revisited. If you come in late your tardiness will be counted as an absence and we will not discuss your work.


Class Schedule & Critique
Critique’s are our way of helping you improve your work. It is an exercise in explaining your ideas and understanding how others react to what you’ve made. They are dialogues. Critique’s are only successful if you are willing to participate. If you feel there is not enough room to speak your mind, please make it known. If you are struggling with critique, read the following explanation. Thank you Mitch Goldstein, Lauren McCarthy, Sasha Portis and Sophie Auger for influencing this style of critiques.

3:20-3:30
Attendance. Hang, display or upload work
3:30-3:50
Review assignment next steps and materials
3:50-4:10
reading review (if applicable)
4:10-6:00
Critique and project review
6:00-6:10
Reset room


Grading Breakdown
Grades are a combination of the quality of your work, participation, and effort. Your course grade is divided equally into three categories: WORK (50%) considers your delivery of all final projects and how successful the projects are from formal, conceptual, and technical standpoints. PARTICIPATION (25%) assesses your level of engagement during critiques, discussions, and one-on-one meetings, as well as your ability to articulate and discuss your work. EFFORT (25%) evaluates the dedication and energy you bring to the design process, including preparation, punctuality, and adherence to project guidelines.


WORK (50%)

3 — Your work is of exceptional quality and reflects mastery of the material covered in class. 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.

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

1 — Your work meets the standards of the course. Be willing to take more chances with craft and production. You turn in assignments and did not miss more than one class.

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


PARTICIPATION (25%)

3 — Your participation is outstanding. You frequently contribute to critiques and discussions, offering constructive feedback and engaging with classmates' work. You are always prepared, articulate your design decisions clearly, and actively seek and incorporate feedback.

2 — You could speak up or engage more often during class discussion. You’re willing to speak your mind when called on. You are brief in your project description and could provide more insight to the group. Consider writing this down beforehand so you are’nt put on the spot.

1 — You do not participate in class discussion. You spend most of the critique unengaged unless we’re talking about your work.

0 — You missed three classes and will receive no credit.


EFFORT (25%)

3 — You demonstrate exceptional effort. You consistently go above and beyond assignment requirements, preparing thoroughly and showing high attention to detail. You are always on time, with work ready to present at the start of class.

2 — You meet assignment requirements but show limited initiative to go beyond expectations. Your preparation is adequate, but there is room for improvement in thoroughness or consistency.

1 — You show minimal effort. You complete assignments but may be late, unprepared, or fail to follow all directions.

0 — You missed three classes, failed to meet deadlines, or consistently lacked preparation.


TOTAL

9 = A+
8 = A
7 = B+
6 = B
5 = C+
4 = C
3 = C-
0–2 = F


Academic Integrity
We’re all influenced by the design and ephemera we encounter on a daily basis. This is only normal and natural, and graphic design as a profession is constantly building on the advances that were made by designers before us. Culture moves as a unit, and it is a part of our job to understand how things shift. But there is a fine line between influence, imitation, and copying. Make sure your influence is a starting point in which you build on, advance, or further in your efforts.
   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


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 "Edit Personal Identity").
   Please let me 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.


AI Position and Policy
SVA has a position on AI which you can read below. In this class AI can be used freely as a tool, to build and concept with. At no point should you pass AI work as your own. But as a designer, you have the ability to use AI as a very powerful starting point. Please make sure your work is your own thoughts and ideas that you may express freely.
   The Department recognizes that like all technological advancements, the presence, evolution, and rapid integration of AI is not something that can be ignored, dismissed, or discounted.
   The Department believes that AI can be an effective, useful, and powerful tool in the classroom but is not a substitute for critical and strategic thinking, creativity, spontaneous insights, and interpersonal collaboration.
   The Department encourages students to always be curious, experimental, innovative, and hard-working. As part of these efforts students may make use of and work with AI but never as a replacement for the qualities listed above.
   The Department cautions that the ease and polish of AI should not result in an altered dynamic whereby students passively cede control of and visions for their work to AI.
   The Department requires that students who make deliberate use of AI ensure that proper credit is given in the classroom, portfolio, and any award/competitions. At minimum, credit should include the AI tool (ChatGPT, Midjourney, etc) and preferably a brief explanation of specific elements in the work that were created using AI.
   The Department requires students to be able and willing to present the full creative process of any project in order to defend against accusations of improper and/or dishonest AI usage.
   The Department reminds students that while each instructor’s AI policy varies, in general, work made using AI risks relinquishing any copyright, ownership, and other IP concerns that a student might otherwise retain over their work.
   It remains at the discretion of each individual faculty member to determine how, if at all, AI is utilized by students in each course they teach. Individualized policies ought to be clearly included in each syllabus and discussed, as necessary, at the start of the course.

Use your object as a jumping off point for an experiment exploring your object and it’s themes. Pair a method with a format and restriction from the list below. Prepare a slide presentation that walks us through your final outcome, and hang or present your work as a contained exhibition for your classmates to view. Upload to Drive.



METHOD

A. Explore the object formally —
  How it looks, sounds, smells or functions.
  Focus on a minute detail of the object itself.

B. Explore the object contextually —
  Where it’s found, bought or sold.

C. Explore the object through language —
  What the object says or suggests.



FORMAT

1. 5.5x8.5" Zine —
  Design an 15 page book (tape/spiral suggested).

2. 18x24" Poster —
  Hang your poster in public.
  Document reactions from passerbys.

3. 5 Second Video —
  Present on your phone, laptop or iPad.



RESTRICTION

X. 100% Image
Y. 100% Type
Z. Type & Image




Background Read Michael Rock’s essay Fuck Content, Rock revisits his 1996 piece Designer as Author. His latest reflection sees him regarding the designers role and it’s relation to content.




Background
Read The Eames Institute’s Profile on designer and artist Daneil Eatock. Daniel occupies the space of fine art, but his sensabilities and training as a designer are present in his work. More to take from all this than anything is the final sentence “Eatock offers the rest of us some consolation: the realization that not every idea merits further exploration, but that through a dogged pursuit of work, something of value will emerge.”

Choose an object that resonates with you. It can be anything you like, but should be something that stimulates you visually and critically. You’ll be using this as the pillar of your projects this semester, so choose wisely. Consider this objects materiality, history, lineage, function, and so forth. It can be old, attached with personal meaning, or brand new.
  You will be presenting your object to the class in the form of a 2-3 minute scripted presentation or video which is a deep analysis of your object. Upload your presentation to the Google Drive Folder under week 3. The following weeks will be focusing on designing larger projects which are based on your analysis and research.
  Trust the process. Go into this project with no preconceived notions. You need to let the object guide you.



PART 1: Research Presentation
Show your research in the form of a scripted presentation. Keep your presentation around 2-3 minutes. Your main goal is to explain how the ideas in your object are expressed through form, function and context. These should be a combination of subjective opinions and objective thoughts. Be as specific as possible, research and present even the most obvious themes and physical attributes (they might not be so obvious to us). Work on forming an opinion of the object, and explain it’s significance culturally and personally. Your presentation can take quantitative form as a traditional powerpoint with comparisons, statistics, interviews and visual collections or it can be crafted as an abstract visual exploration of the object. In both cases, keep in mind pacing, design, sequence, juxtaposition and tone. Your presentation should answer the following questions with thought and critical analysis of your object—

1. It’s history
2. It’s users (past, present and future)
3. Associative meanings or other uses
4. Cultural context
5. Personal significance
6. 5 underlying themes uncovered



PART 2: Documentation of Form
Create a section of your presentation which is an exploration of your object both formally and representationally. You’re to bring 100 total images relating to your object.
  For your first 25 slides, record and document your object. Explore every potential angle and facet. This should be an intimate documentation of your object, uncover things you’ve never noticed. Find beauty in the details.
  Next, collect 75 images relating to your object. This should not be of the object itself, more like research. Found imagery can be sourced from online or in books, be broad and wide in your research. Are there schematics of blueprints of your object somewhere? Is it made by someone, if so does their company have a logo? Are there advertisements for your object? Be abstract in your research, find tangents. They’re often the most interesting.

25 slides: documentation of object
75 slides: moodboard/research slides




Background
Read Research and Destroy by Daniel van der Velden (B. 1971). Daniel van der Velden is a graphic designer and writer. Together with Vinca Kruk he founded Metahaven, a studio for design and research. Metahaven's work—both commissioned and self-directed—reflects political and social issues in provocative graphic design objects.


Example Presentations
Below are some previous student presentations to inspire you. Notice how each presentation follows the proposed outline, is well designed, and has a clear point of view.

AJ Kim
Eddy Lee
Daphne Chiang

Develop a research publication that explores a thought or theme from your research. The book you create should include at least three texts and be a minimum of 300 pages. Your texts should maintain a through-line; a concept, concensus or point of view that is delineated from your object and research.
  Your design should be informed by your theme. Make decisions about layout, typography, format and art direction that are motivated by your theme.
  A large part of this project is how you collate and organize this content into a whole package. Consider the structure of your publication and how it is presented.



NEXT WEEK
— Collect your three texts
— Devise your through-line (theme/concept/POV)
— Design 20 pages of your publication

Print your 20 pages so they can be hung on the wall in sequence. Decide how best to explain your concept; This can be a slide presentation, printed slides, etc. Either way, you should be able to explain and we need to understand your through-line clearly.



BACKGROUND
Watch the Virgil Abloh lecture “Everything in Quotes”. Virgil was an American fashion designer and entrepreneur. Abloh began his own line of streetwear clothing, Pyrex Vision, in 2012, and became the chief executive officer of the Milan-based label Off-White, a fashion house he founded in 2013. The most practical advice as it pertains to this assignment is 25:18 “The Domino Effect”.

Design 150 pages of your whole 300+ page publication. Print a dummy book double sided and in sequence so we can flip through all of your pages and discuss pacing, organization and typographic details. We will meet one on one, which means we can review your Indesign file and talk about technical details as well. Flow all of your text and decide if you need more content, re-consider how your book is organized, create artwork, soruce imagery, etc...
  Remember our book checklist from last semester. These are the key points to consider as you define your publication:

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



Watch the above lecture by Bob Gill. Bob Gill (b. Brooklyn, New York, January 17, 1931) was an American illustrator and graphic designer. April Fool’s Day, 1962, Gill, Alan Fletcher and Colin Forbes established Fletcher/Forbes/Gill design studio, the forerunner of Pentagram. In 1967, Gill left the partnership and assumed independent freelancing again, including teaching, filmmaking and writing children’s books.



EXAMPLE PROJECTS
Below are some previous student projects to inspire you.

Heeyoung Choi
Eddy Lee
Sophia Gutierrez
AJ Kim

Design your whole 300+ page publication. Print and produce your book as a final object for review. Considering it’s paper, printing, binding and cover method.
  Remember our book checklist from last semester. These are the key points to consider as you define your publication:

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



Watch the above lecture by Fraser Muggeridge. This paper was presented during the conference on Typography Day 2018 hosted by Sir J J Institute of Applied Art, Mumbai. Fraser Muggeridge is a Director of Fraser Muggeridge studio/teacher at the Department of Typography, Univesity of Reading, UK (N/A). This presentation focuses on research into the approach, method, and outcomes of a typographic designer. This will help in knowing the wrongness of typographical experiments and print processes that lead to new forms within the typographic practice.

Please create a PDF with your work from the fall and spring semester. Upload everything by Tuesday, April 29th. If it is a physical object, please photograph the final result. Upload your final work to Google Drive in a folder labeled with your name.