SHOW AND TELL 2011: Juried Student Design Competition

This represents the best editorial student work of the past year. All submissions were put in front of a jury of respected art directors: Roger Black, John Walker and Genevieve Williams.

Anna Betts (@anna_betts)
Cambridge School of Art, UK
Professor: Chris Draper


Zachary Gilyard (@ZachGilyard)
Rochester Institute of Technology
Professor: Alex Bitterman


Rachel Orr (@rachelanneorr)
Ohio University
Professor: Julie Elman




Clarissa San Pedro (@csanpedro)
Central St Martins College of Art & Design, London
Professor: Patrick Roberts

to take a closer look at their editorial work gallery1






Josh Clement
Monash University, Caulfield Campus, Victoria, Australia
Professor: Niko Spelbrink



Ahreum Han
School of the Art Institute of Chicago
Professor: Daniel Morgenthaler


Elissa Roberts (@elissaroberts)
Ohio University
Professor: Julie Elman




Jay Jiwon Yoon
Parsons, the New School for Design
Professor: Sandra Maxa

to take a closer look at more of their editorial work gallery2






Patrick Crowley (@pcrowl)
Iowa State University
Professor: Paula Curran




Minjung Lee (@mjlee1020)
School of Visual Arts
Professors: Carin Goldberg, Claudia de Almeida




Luke Shuman (@lukeshuman)
Taylor University
Professor: Ryan James




Lindsay Weitzman
Boston University
Professor: Kristen Coogan

to take a closer look at more of their editorial work gallery3

YGAwards

Young Guns has officially put a call out for 2011 entries. Get your portfolios together!

Enter here.

Canada Type

Font Shop has just added Canada Type to their roster and we take a look back at some of their biggest hits.

Memorium

Gala

Gibson

How To Bind A Book

This blog entry comes from our companion site: Editorial Design. The wonderful TA Ayca has it loaded with useful and interesting tips and tricks. Here she presents how to bind a book.

Artist James Sheehan shows Martha Stewart how to bind a professional looking book.

They are making a book without the stitching, basically pasting papers together with double-sided adhesive and then hard covering it.
Watch the video, here.

Tools and Materials
Sheets of paper for binding into a book
Bone folder
StudioTac double-sided adhesive
Heavyweight papers for end pages
Pencil
Jade glue
Paint brush
Headband tape
Craft knife
Binder's board (acid-free)
Book canvas
Iron-on transfer paper (optional)

Binding a Book How-To
1. Collect all the sheets of paper you wish to bind into a book. Fold each sheet in half, with the image or text on the inside, using a bone folder.

2. Start with the folded sheet that you intend to have as your first and second pages. Place double-sided adhesive on the half of the folded paper that is the back of the second page. Burnish with the bone folder, remove protective backing and place the next folded page over it, lining up the folds and the edges; burnish to secure. Repeat to create the rest of the pages.

Note: If you are creating a blank book, or the pages are printed double-sided, you do not need to adhere the pages to each other. Arrange the folded pages in order and allow the loose pages to fall, folded-edge-down, onto a flat surface to make sure all pages are aligned at the spine. Then, continue with step 3.

3. Fold the two sheets of paper that you are using for the end pages in half. Use double sided adhesive to add these to the top and bottom of the stack of adhered sheets.

4. Place the stack of folded pages on edge of table, hanging off a quarter inch. Place several heavy books on top. Brush five coats of Jade glue onto the spine, allowing to dry for 10-15 minutes between coats.

5. Add headband tape to both ends of spine.

6. Trim the edge of the pages with a craft knife, if necessary. Place pages onto binder's board and trace around them. Add a quarter inch to the height of the tracing. Cut out two of these rectangles from the binder's board with a craft knife to make a front and back cover.

7. Cut a spine from the binder's board that is the same height as the two covers and a width that is equal to the thickness of the pages plus the two covers when placed together.

8. Place covers and spine on canvas, leaving a quarter-inch between the covers and the spine. Trace around each cover and the spine with a pencil, making a template for gluing everything down. Cut the canvas 1 inch around entire layout. Cut an ellipse out of each corner.

9. Brush glue onto one binder's board cover, being sure to cover the whole surface to avoid air bubbles. Glue the cover in place on the canvas. Flip the canvas over and burnish with a bone folder to remove air bubbles. Repeat for the second cover and spine.

10. Once the covers and spine are glued and burnished, brush a layer of glue along the extra inch of canvas on one of the sides. Fold canvas over to inside of cover and burnish to secure. Repeat for all sides, paying close attention to corners to be sure they are tucked in correctly. Once all sides are glued, do a final burnish all around with the bone folder.

11. Iron an image onto the front of the finished book, if desired.

12. Place book pages within the covers. Place a piece of scrap within the folded end pages on one side. Brush glue onto the back of the end page (the one that is facing up when all the pages are closed), being sure to cover the whole surface. Carefully close the cover onto the page with glue. Press down. Flip book over, open to the page you have glued, and burnish the page onto the cover. Repeat to attach the other end page to the other cover.

13. Place scrap paper within the front and back covers, and place several heavy books on top of the book. Let dry for an hour.

Resources
All tools and materials can be found at talasonline.com.

a.

Bodoni Bedlam Pop-Up Book

Holy Bodoni! The designer, Victoria Macey certainly knows her way around a type specimen book. She describes her pop-up book as:

An alphabet pop-up book, which displays the font, Bodoni, while telling a charming tale about a quest for the "Dees" that have been captured by the evil Dee Catcher.

Take a look at some of her work here: Victoria Macey

Louise Fili Tribute to New York

For decades the School of Visual Arts in New York City has been famous for the unstinting excellence of its promotional efforts. The most visible of these works have been subway posters notable for their blend of memorable copywriting and arresting imagery. The latest example is an eye-catching simulation of the mosaics that are virtually synonymous with the subway and thus with the city itself.

The poster is the work of Louise Fili Ltd. Louise Fili not only designed it but also wrote its copy. The complex production of the poster was carried out by John Passafiume and Dana Tanamachi at Louise Fili Ltd. Anthony P. Rhodes was the creative director and Michael J. Walsh the art director.

Read more: Take the SVA Train: Louise Fili's Homage to New York's Subway Signage — Imprint-The Online Community for Graphic Designers

-VIA imprint

50 & 50

The Fifty and fifty Project is an ongoing project started by dan cassaro, sva alumn.

Some really beautiful typographic solutions are being uncovered on this site.

ABOUT 50 AND 50

50 AND 50 IS A COLLECTIVE, CURATED PROJECT WHERE FIFTY DESIGNERS ARE INVITED TO REPRESENT THEIR STATE BY ILLUSTRATING ITS MOTTO. A NEW PIECE WILL BE POSTED EVERY WEEK DAY.

Site: http://statemottosproject.com/

New Design Contest!

Hello everyone.

Have a nice winter break?

Here are a fresh batch of design competitions to submit to:

1- ADC 90 AWARDS Deadline Extension Announced for Design Categories!

INTERACTIVE JAN 28, 2011 STUDENT JAN 28, 2011 ADVERTISING FEB 6, 2011 PLAYGROUND FEB 6, 2011 HYBRID FEB 6, 2011 STUDENT BRIEF MAR 18, 2011

About the Art Directors Club
The Art Directors Club is the premier organization for integrated media and the first international creative collective of its kind. Founded in New York in 1920, ADC is a not-for-profit membership organization whose mission is to Connect, Provoke and Elevate world changing ideas. It focuses on the highest standards of excellence and integrity in visual communications for the industry, and encourages students and young professionals entering the field. ADC provides a forum for creatives in Advertising, Design, Interactive Media and Communications to explore the direction of these rapidly converging industries.

Not Yet A Member? Join Now.
Manage preferences here.

The Art Directors Club 106 West 29th Street New York, NY 10001 212.643.1440

CONNECT | PROVOKE | ELEVATE
ADCAWARDS.ORG

2- Submissions are now open 2011 Adobe Design Achievement Awards

The Adobe Design Achievement Awards recognize innovative students and faculty members who AMAZE the world. Finalists will receive Adobe software and a trip to Taipei, Taiwan, where they will be honored in an awards ceremony during the 2011 IDA Congress set for October, 24-26, 2011. Category winners also will receive a cash award of US$3,000. Competition is FREE to enter and open to all students, faculty and staff of higher education institutions around the world. Participants may submit up to 2 times in 15 different categories and 3 faculty categories. All student categories except for Web Analytics and Mobile Analytics* will be judged throughout the competition year. Students are able to submit in three judging sessions and semifinalists will be selected during each judging session. Students are advised to submit their projects for every academic term from May 2010 through June 2011. 2011 Judging* Schedule: November 30, 2010 — January 28, 2011 — Semifinalists announced in February 2011 January 28, 2011 — April 29, 2011 — Semifinalists announced in May 2011 April 29, 2011 — June 24, 2011 — Semifinalists announced in July 2011 Faculty and staff category submissions close on June 24, 2011. Semifinalists will be announced in July 2011 WWW.ADOBEAWARDS.COM 3 - CQ23: Int'l Call for Entries Deadline: January 28, 2011 Just one week left to enter, all entries must be uploaded or postmarked no later than next Friday, January 28. Select your best work done in the last six months. In graphic design. Illustration. Photography. Or fine arts. Open to all professionals and students--separate categories but with the same stiff judging criteria. Winners will be featured in our next issue as well as in our online gallery. Getting into CQ means your work measures up to the best work being done today. Check out the major design firms, top illustrators and photographers who have been winners. And the top universities and art schools whose student's have been featured. You'll see why we're quickly becoming a leading art and design competition. Point your cursor here to enter. Why enter Creative Quarterly? More immediate notice. Our publication comes out quarterly so we're on top of who's doing the top work. Less expensive entry fees. A flat $10 per entry. Eligibility All art directors, graphic designers, illustrators, photographers and fine artists in all countries. Separate categories will be judged for professionals and students. Work must have been completed during the last six months. Categories Graphic Design—advertising design, books, branding, brochures, editorial, environmental, identity, packaging, posters and web. Photography—both fine art and commercial. Illustration—print and animation. Fine Art—painting, drawing, printmaking, multi-media, pottery, sculpture. Awards See our current list of winners If you’re a winner you’ll get great exposure in the next issue of Creative Quarterly due out in Summer 2011 distributed in the US, Canada, UK, Europe and parts of Asia. And your work will be featured in our onlinegallery. Runner-up entries will also be shown in our online gallery. Deadline CQ23 entries must be sent to us no later than January 28, 2011 Click here to enter.

MUST WATCH

Deliciously shot and detailed short film that follows the start-to-finish process of creating custom paper-fold DVD cases and duplexed, embossed business cards by Visual Inclination.

via Quipsologies

Print Craft from Visual Inclination on Vimeo.

American Design Schools are Failing Their Students

An interesting article on how American design schools are failing their students, and how students are failing at their internships.

Do you guys agree?

Are design schools failing their students?

A NOTE FROM GEN

we've been asked to hang a show in the second floor showcases on the 29th of november, monday, the day we return from thanksgiving break.

it'll hang through break and be there when we return.

that's a great opportunity!!

we need 13 x 19" posters from each student on november 29th by 6pm in room 202.

names printed legibility on the back, pls.

if the piece doesn't fit in 13 x 19, that's fine.

closest size then.

Please email your TAs with your ideas

Stefan Sagmeister: "OVER TIME I GET USED TO EVERYTHING AND START TO TAKE IT FOR GRANTED"

Check out this video:
"Don't Take Creativity for Granted"

Feeling uninspired in your type choices?

Three words... look around you!

There is no better place to see a diversity of typography and design than New York City (somewhat biased opinion)

NYC Type agrees with that notion as it catalogs typography around Manhattan, Brooklyn and Queens. See any familiar typefaces?

Packaging Design Sites

DIELINE:

http://www.thedieline.com/

LOVELY PACKAGE:

http://lovelypackage.com/

MUCCA DESIGN:

http://www.muccadesign.com/

LOUISE FILI:

http://www.louisefili.com/

PACKAGING OF THE WORLD:

http://www.packagingoftheworld.com/

ILOVEDUST:

http://www.ilovedust.com/

App Design Process

Discover> Define> Design> Develop> Deploy> Document.

Design and Development are interchangeable and should be revisited many times.

The Three most important to initial app development in this class are.

Discovery & Research:
-What are users' primary goals and how can they achieve them?

Define:
-Which information is of higher importance? How do I draw user' attention to them?
-How should I incorporate the user feedback?

Design:
-Prototyping offers a huge opportunity for increasing process efficiency?

For the next class you should prepare: A Discovery Document.

Which includes:

App Brief and Document:
- Introduction to App
- Project Goals
- Application Specifications

User Persona:
- Age, Home, Family Status, Work, Interests, Approach to the App, Wow Factor, & Apps he or she may already own.

Mood Board:
- This functions similar to the persona but is a visual representation of who the consumer is.
- Should be designed and incorporate photographic, illustrative and typographic elements.

WireFrame:
- Simple visual layout apps screens and functions.
- Can be very simple, line art and boxes really.

Further Development of the Discovery Document should entail:

- Paper prototypes, sketches with cut out buttons, photographed and used to refine layout possibilities.
- Style screens, one from each level of the app showing design and function details.
- Possible additional features for further updates of the app.
- Further develop wireframe and begin to skin the app based on your style frames.
- Decent style frames can easily be turned into a motion presentation for potential investor.

(Thanks, Bryan).

Assignment & Reminders for the Wednesday Class

Assignment for next week:

1. Continue working on your app, providing a storyboard, as well as some context (your intended demographic, the purpose behind your app, etc).

2. Alternatively, you can also work on your packaging assignment, which is to produce original branding for three related products. For example, if you choose to re-brand a pasta product, you could also develop designs for sauces and wine, etc. You could also produce related materials, such as a lookbook, gift bags, wrapping paper, etc to accompany a particular product. An excellent example can be found in Liz Chan's work on LUXY.

Reminder: Please know that you will be graded by the work that has been posted to your blog. If you have not posted your work to your blog, it will NOT be graded. If you have any questions, please don't hesitate to ask.

Infographics

Examples of Good Infographics:

Places to find infographics:

Wired magazine

Good magazine

New York Times

Flowing Data

rosanne chemeki

n

Seconday Assignment for Monday Class

First of all,bring your type books to completion and please remember we are going to cut down the number of typefaces used to just 3 or 4.

In addition, you must investigate the final typefaces you have chosen:

1. Name
2. Who created it
3. When
4. Where
5. Why
6. Characteristics
7. Design genre

All these things must be posted to your blog BEFORE class and printed out, you may be called on to present what you learned. Be prepared.

Any questions?

Email us.

-Nicole

Assignment for Wednesday Class

First drafts of infographics are due next week. Choose either a topic of interest, or email infographics expert Nicole Rincon (nicolemrincon@gmail.com) for an assignment. Specifically, this means compiling research, surveying if necessary, and producing a pencil sketch of your intended format for next class. Please refer to the following links for inspiration, reference, etc:

http://feltron.com/
http://www.good.is/infographics


Please finish up your type specimens as well.

Double Dagger (by chris mills)

The name sounds like a terrible action movie, punk band, or video game weapon choice.


But it also has a function


The dagger is usually used to indicate a footnote, in the same way an asterisk is. However, the dagger is only used for a second footnote when an asterisk is already used. A third footnote employs the double dagger.^[1]Additional footnotes are somewhat inconsistent and represented by a variety of symbols, e.g., parallels (||) and the pilcrow (¶), some of which were nonexistent in early modern typography. Partly because of this, superscriptnumerals have increasingly been used in modern literature in the place of these symbols, especially when several footnotes are required. Some texts use asterisks and daggers alongside superscripts, using the former for per-page footnotes and the latter for endnotes.

Type Crimes

http://www.itcfonts.com/Ulc/4111/TopTenTypeCrimes.htm
http://www.papress.com/thinkingwithtype/resources/crimes_scale.htm
http://www.dynamicgraphics.com/dgm/Article/28541/