Archive for ‘Assignments’

Reading, Writing + Sketching

• Reading: Basics Design Ideas, pgs. 39-62, Basics Design and Living, pgs. 9-52
• Writing: 1 Blog Post and 2 Comments (see Writing Requirements)
• Sketches: 25 min.

Note: Size of sheet and scale of drawings TBD.

* Comments to classmates’ blog posts are due by the next class meeting Tues., Oct 27.

• Site Drawing (CAD)
• Aerial Photo of Site
• Google Map of Upper Kingsburg, NS
• Ghost 12 (Flickr)
• MacKay-Lyons Sweetapple Architects

Design Process and Conclusions Statement:

The intent of this exercise is to assist you in gaining a better understanding and insight into your work. You are to create a blog posting for each project that articulates the process (inspiration, formation and manifestation) you underwent as you carried your inspired idea to a final, tangible product. While this is not an English course, I expect you to be cognizant of proper grammar, spelling, vocabulary and sentence structure. (Please see syllabus for written assignment expectations.)

The writing assignment will be posted to the class blog for review; therefore, it will also be available for your classmates to review. The goal is to create a safe space (the blog) where each student can:

• Improve writing skills, especially as they relate to design disciplines.
• Connect current course content, concepts and techniques to personal experiences and real-world applications
• Encourage dialogue between classmates with thoughtful and constructive responses to the ideas of others.

Posts

Minimum Requirements:

1. 250-300 words (word count appears below the post editor window after you save the draft).
2. Content must relate directly to current project, course content and required reading.
3. Include a hyperlink to an outside source that relates to your writing and/or course content.
4. Include an image from another source that visually relates and exemplifies the content of your writing. This can be from the hyperlink mentioned above if appropriate.

Related Content Suggestions:

• What are the project’s goals and objectives? Don’t elaborate or spend too much time on this – assume the audience has a basic understanding of the project.
• What was your inspiration and how did it meet the project’s goals and objectives?
• Where there any precedents for your work? Why are they important?
• What personal experiences do you bring that influenced the work?
• What are major concepts/themes in the work?
• What were the conflicts and difficulties present during the process? How did you resolve those – or did you?
• What questions arose during the process? How did you answer – or did you?
• Why is your response relevant to the project’s goals and objectives?
• Incorporate relevant information from reading and research
• Evaluate the success of the final product

Comments

Minimum Requirements:

1. Elaboration and response, not just simple agreement. For example:
   Comment A: “I agree. This is a good idea.” = ZERO CREDIT
   Comment B: “I agree. It makes me think of…” = POINT
2. Charitable tone
3. On Topic

Overview

In today’s society, more and more children attend some form of preschool or child care before they begin their formal education, which is typically marked by kindergarten. Preschool and kindergarten place much significance on children’s play as a critical developmental tool. (The concept of kindergarten, “child’s garden,” originated in Germany by Fredrich Froebel. This project requires each student to develop a design concept for a single preschool classroom that accommodates 20 three- to five-year-olds. The space needs to facilitate a variety of small group and individual activities, including block-building, sociodramatic play, art, music, science, math, manipulatives (puzzles and games) and quiet reading and writing. These activity areas should be clearly defined by the spatial arrangement and clear pathways need to be provided for children to move from area to area with minimal distraction. Of course, the design needs to meet the needs of children (esp. when considering equipment, furniture and finishes) while providing an inviting and fun learning environment.

Assignment

Part 1: Research

Begin the project by learning about designing for children. In addition to considering the size of your client, which dictates certain dimensional criteria, we also need to consider the effect of color, types of spaces/zones needed and their adjacencies, circulation/pathways, surfaces and storage needs. I have provided a list of resources below to get you started, but please do not feel limited to this list.

Part 2: Observe and Interview

This step is a continuation of the first and will provide first-hand experience of a pre-k classroom environment. Our class will visit Abilene Christian School’s preschool classes providing you the opportunity to see examples of preschool classrooms, observe the children and teachers using the space and talk with them about their likes and dislikes. Click here for the questionnaire.

Part 3: Design an Environment for Children

Using the drawings provided, design an environment for a preschool classroom (20 three- to five-year-olds) taking into consideration insight gained from the observation and interviews. The design should strive to meet the following goals:

• Visually rich, fun and surprising
• Provide spaces and surfaces for display of children’s work
• Provide a variety of settings for work-in-progress
• Introduce a variety of social setting for small and large groups
• Make strong connections between the indoors and outdoors (use daylighting as much as possible)
• Connect spaces to promote communication, orientation and flexible programming and staffing
• Build in flexibility of space to accommodate evolving teaching practices
• Create a distinctive and pleasing entrance
• Eliminate physical barriers and isolation
• Pay special attention to the scale and height of typical elements such as windows, doors, doorknobs and pulls, sinks, toilets, counters, furnishings, mirrors, steps, shelving and storage, light switches, towel dispensers and other accessories (anthropometrics for children)

The design should include spaces that accommodate the following activities:

• Group Instruction
• Group Reading
• Wet Area (for projects/art)
• Small Group Area
• Work Area for Teacher
• Storage
• Restroom

Process:

• Sketches: 30 sketches (minimum)
  
• Reading (selections from the following):
  • Developmentally appropriate Practice in Early Childhood Programs (Bredekamp & Copple)
  • A Place for Learning (Logrippo)
  • In My Room/A Place for Learning
  • In My Room – Color My World/Body Colors (Logrippo)
  • Color Harmonies
  • Elementary Schools (Interior Graphic Standards)
  • Pre-K Spaces
  • Construction Drawings and Details for Interiors
  • Ch. 7: Floor Plans
  • Ch. 9: Elevati0ns
  • Color, Space, Style
  • Ch3: Drawing Basics (esp. pgs 30-34, 36 & 38)
  • Ch. 4: Presentation & Communication (esp. pgs 58-63)
  • Ch. 9: Color
  • Ch. 10: Material
  • Ch. 11: Texture
• Writing:
  • 1 Blog Post & 2 Comments (see Writing Requirements)
  • Design Concept Narrative
    

Final Deliverables

Presentation Materials:

• 18″ x 24″ Drawing Sheet (vellum or quality drawing paper)
  • Furnished floor plan @ 1/4″ = 1′-0″ scale (include electrical symbols and legend)
  • Elevations of all walls @ 1/4″ = 1′-0″ scale (10’ max. ceiling height)
• 18″ x 24″ Finish Board (foam core)
  • Include all finishes, materials and colors
  • Design concept narrative (detail the implementation of color, choice and convertibility)
• Include Title Block on each sheet/board that includes (hand lettered on drawing sheets)
  • Preschool Classroom
  • Your name
  • DSGN 242
  • Fall 2011
  • Sheet number (1, 1 of 2, 1/2, etc.)

Process Documentation:

Neatly organize the following process documents in a report binder or folder with your name on it.

• Photocopies of all sketches/process drawings
• Completed interview questionnaire

Schedule + Deadline

• Fri., Sept 16: Project 2 assigned, introduction to designing for children
• Mon., Sept 19: No Class – Attend Summit and Post to Blog
• Wed., Sept 21: Observe and interview children and teachers at Abilene Christian School
• Fri., Sept 23: Ideation, bubble diagrams, design concept development
• Mon., Sept 26: Design concept development
• Wed., Sept 28: Furnished floor plan due (can be on trace) – Group critique @ beginning of class, identify material and color and concepts
• Fri., Sept 30: No Class
• Mon., Oct 3: Elevations
• Wed., Oct 5: Elevations, finish selections formalized
• Fri., Oct 7: Elevations due (can be on trace), Work on presentation drawings + materials
• Mon., Oct 10: Design process and conclusions statement due (post to blog), Work on presentation drawings + materials
  
• Wed., Oct 12: Project due at the beginning of class – Final Critique

Link to Grading Criteria

Resources

• Pre-K Observation and Interviews
• ACS Photos
• Stepping Stones Photos
• Child Care Centers (from Architectural Graphic Standards)
• Furniture and Plan Equipment for Child Development Centers (from AGS)
• Accessibility section from Interior Graphic Standards
• Bredekamp, S.C. Copple. Developmentally Appropriate Practice for Early Childhood Programs
• Ching, Francis. Interior Design Illustrated,Wiley.
  • pgs. 52+ (User Requirements – Activity)
  • pg. 72 (Relationships)
  • Plan arrangements
• Erickson’s Psychological Development Stages
• Henry Dreyfuss Associates. Measure of Man and Woman, Wiley
• Better Homes and Gardens. Childstyle, Meredith Books
• Jordan, Wendy. The Kidspace Idea Book, Taunton Press
• Logrippo, Ro. In My World: Designing and Living and Learning Environment for Children.
• Piaget’s Cognitive Development Theory
• Ruth, Linda Cain. Design Standards for Children’s Environments, McGraw Hill
• Torrice, Antonio. Logrippo, Ro. In My Room: Design with and for Children.

Assignment

Objectives:

Process (part one):

Process (part two):

1. Choose one isometric drawing from the process listed above. The drawing can be any within the matrix except for the original house (upper left corner).
2. Using AutoCAD, draft the transformation of the morphouse in a four-part sequence – the first square being the original morphouse chosen. These will be printed at 1/8″ = 1′-0″.
3. Using AutoCAD, draft the primary orthographic projections (plan, four elevations and two sections) of the house. Arrange the drawings like an unfolded box with the sections aligned to the corresponding elevations. (We will discuss this in class.) These will be printed at 1/4″ = 1′-0″. Since the drawings are at a larger scale, please add the appropriate amount of detail to the drawing (such as window frame widths). Poché (solid, grey or hatch) section cuts through walls, floor, roof, etc. Assume original morphouse exterior walls are 8″ thick, floor slab is 4″ thick and roof is 10″ including structure.
4. Note about drawing: It is critical that proper line weights are used for CAD drawings, otherwise they can be difficult to read and uninteresting. Please use distinct line weights to distinguish spatial depth and building outline.

Final Deliverables

Presentation sheet that contains the following:

Scale Model of Final Morphouse:

• Scale: 1/4″ = 1′-0″
• Make sure it is finely crafted! (Keep a sharp blade and use your CAD drawings as templates.)
• Use chipboard, illustration board or museum board – NO FOAM CORE
• You can also use basswood. Especially useful for smaller details (such as window frames).

Process Documentation:

Digital Files:

• Upload the presentation sheet (saved as a high quality PDF*) to the class dropbox on myACU

*Prefix each file with your first initial.last name followed by an underscore (ex: b.young_project 1.pdf)

Schedule + Deadline

• Tues., Aug 30: Review project brief, begin work
• Thurs., Sept 1: Work day, desk critique
• Tues., Sept 6: Work day
• Thurs., Sept 8: Three Matrices due @ the beginning of class, small group critique, begin final deliverables (presentation drawings and model)
• Tues., Sept 13: Service Project (tentative)
• Thurs., Sept 15: Mock-up of presentation sheet fit-to-page on tabloid size@ beginning of class, Service Project (tentative)
• Tues., Sept 20: No Class – Must attend Summit
• Thurs., Sept 22: Project due @ beginning of class – Final Critique

Grading Criteria

Project = 20% of final course grade

Link to grading Criteria

Overview

Space constantly encompasses our being. Through the volume of space, we move, see forms, hear sounds, feel breezes, smell the fragrances of a flower garden in bloom. It is a natural substance like wood or stone. yet it is an inherently formless vapor. Its visual form, its dimensions and scale, the quality of its light – all of these qualities depend on our perception of the spatial boundaries defined by elements of form. – Francis Ching “Architecture: Form, Space and Order”

The primary elements of form are:

• Point – indicates a position in space
• Line – a point extended that has length, direction and position
• Plane – a lined extended that has length, width, shape, surface, orientation and position
• Volume – a plane extended that has length, width, depth, form, space, surface, orientation and position

Objectives

• Explore the creation of space using the primary elements of form
• Understand the effect scale has on the perception of space
• Examine the quality of light and its use as a “material”
• Develop design process
• Develop technical skills including model-building, sketching and hand drafting
• Introduce page layout design elements (including: grid/organization systems, orientation, visual unity and balance, information sequence and hierarchy)
• Utilize digital tools for final composition

Assignment

Part 1: Physical Models

In order to focus on the creation of physical space and study of solid + void, create three separate physical models that combine the following elements to form spaces:

1. Planar elements (membranes) – curved and straight
2. Planar and linear elements (rod, bar, cable, etc.)
3. Planar and volumetric elements (cube, cylinder, sphere, etc.)

The models must meet the following requirements:

• Not to exceed 4″w x 6.5″d x 4″h.
• Mount models on a rectangular base that measures 6″ x 8.5″ (should be approved material – see below)
• Approved materials: cardboard, chipboard, matboard or foam core – wire, dowels or string can be used for linear elements
• One or two materials p/model maximum

Part 2: Scale + Light

Scale completes the sense of space by providing a familiar reference and context, the human body. Adding scale figures to a model renders it less abstract and more concrete. Light serves as an additional material that conveys a sense of space – space that is transformed through the passage of time.

1. Create three scale figures @ different sizes – 1/8″, 1/4″, and 1/2″ (example here)
2. Place the figures (one size at a time) in each model and observe the effect each has on the perception of space
3. Cast light on the models from a variety of vantage points. Natural light (sunlight) is the preferred source, but the use of artificial light is acceptable as well. Observe how light changes the nature of the space and becomes its own material.
4. Choose one model and one scale figure you feel best relate to one another

Part 3: Representation

Space has been created, scale and light have been examined – now the work needs to be documented and re-presented through drawings and photographs.

• Photograph the nature of the space as the perspective and light changes.* Ensure the scale figure is visible in each photograph.
• Using the photographs as reference and/or underlays, freehand sketch three perspectives of the space. Let the drawing emote the quality of the space through the use of light, shadow, line quality, texture, scale, etc.
• Draft two sections (one in each direction) of the model @ actual size
• Incorporate drawings, photographs and appropriate labels into an 18″ x 24″ presentation sheet

*In order to reduce distractions, keep the background as neutral as possible. Use a solid backdrop, such as a large piece of paper, sheet, foam core, etc. to eliminate background “noise.”

Process:

• Inspiration: Find at least two images of spaces/forms p/model type as inspiration (six total)
• Models: Three process (one will be the final)
  
• Sketches: 10 min. p/model type (30 total)
• Photographs: Eight of the final model

Final Deliverables

The final composition will be a single 18″ x 24″ vellum sheet, which includes the following:

• Three perspective sketches w/scale figures
• 2 section drawings w/labels and graphic scale (use architectural lettering)
• Project name (Space, Scale + Light), student name, class and semester (use architectural lettering)

Process Documentation:

• Three physical models w/scale figure
• Inspiration images – post to the Class Discussion Blog (send an e-mail to: 1210_DSGN24201@blogs.acu.edu)
• Photocopies of sketches*
• Photographs – upload to the class dropbox on myACU. Name each file as follows: first initial.last name_project 1-photo1.jpg (ex: b.young_project 1-photo 1.jpg)

Schedule + Deadline

• Mon., Aug 29: Introduce project
• Wed., Aug 30: Inspiration examples due
• Fri., Sept 2: All sketches due @ beginning of class, work on models
• Mon., Sept 5: Work on models
• Wed., Sept 7: Models due, group critiques @ beginning of class, work on drawings
• Fri., Sept 9: Work on drawings
• Mon., Sept 12 & Wed., Sept 14: Service Project (tentative)
• Fri., Sept 16: Project due @ beginning of class – Final Critique

Grading Criteria

Project = 15% of final course grade

Link to Grading Criteria

• Nicholas Felton – Creates “Annual Reports” that are full of superb information graphics related to personal data collected throughout a year.
• Chris Doyle Identity Guidelines – Satirical interpretation of personal identity and identity guidelines.
• The Bare Essentials – Poster w/pictograms representing “necessities” of the graphic designer.

Overview

This project continues the exploration of different types of brandmarks, specifically those that incorporate the brand name in their creation. The challenge, besides designing a visually striking brandmark, is to discern which type of mark is most effective for the client. The following list describes each type of brandmark to be considered for this project.

A Wordmark (or logotype) is a freestanding word or words. It may be a company name or an acronym. The best wordmarks imbue a legible word(s) with distinctive font characteristics, and may integrate abstract elements or pictorial elements. The distinctive tilted “E” in “Dell” activates and strengthens the one-syllable name. The IBM acronym has transcended enormous technological change in its industry. – Designing Brand Identity, pgs. 54-55 (also see pg. 126 for logotype definition)

A Pictorial Mark uses a literal and recognizable image. The image itself may allude to the name of the company or its mission, or it may be symbolic of a brand attribute. The eagle of the U.S. Postal Service is both a symbol of America and a symbol of speed and dependability. – Designing Brand Identity, pgs. 58-59

An Abstract Mark uses visual form to convey a big idea or a brand attribute. These marks, by their nature, can provide strategic ambiguity, and work effectively for large companies with numerous and unrelated divisions. Abstract marks are especially effective for service-based and technology companies; however, they are extremely difficult to design well. – Designing Brand Identity, pgs. 60-61

A Signature is the specific and nonnegotiable designed combination of the brandmark (symbol) and logotype. The best signatures have specific isolation zones to protect their presence. A company may have numerous signatures, for various business lines or with and without a tagline. –Designing Brand Identity, pg. 50

Emblems are trademarks featuring a pictorial element inextricably connected to the name of the organization. The elements are never isolated. Emblems look terrific on a package, as a sign, or as an embroidered patch on a uniform. – Designing Brand Identity, pgs. 62-63

Objectives:

• Investigate the use of words and symbols to communicate meaning
• Understand different types of brandmarks and their distinctive characteristics
• Explore the relationship between a name and its symbolic representation
• Increase typographic skills (letter spacing, word spacing, leading, scale, proportion, etc.)
• Continue to explore the use of figure/ground to distill information
• Utilize color as a stimulus for brand recognition
• Develop design process
• Refine drawing skills as an integral part of design thinking
• Increase proficiency of using software to manipulate and integrate type with objects

Assignment

Each of you will design two marks for a client you know fairly well – YOU! Imagine that you are starting your own design business. You can use your name (ex: Brandon Young) or part of your name (ex: Young Design), or you can create a completely separate name for your design business (ex: Graphic D). You have an upper hand here in one sense, because you have an intimate knowledge of the client. However, it can be a challenge to move away from fine details and see the big picture. “You can’t see the forest for the trees.” As in the previous brandmark assignment, the goal is to communicate the brand (you and your design business) clearly and concisely through the use of words, symbols and color.

Process:

• Sketches: 15 minimum for each mark
• Writing: 1 blog post and 2 comments (see writing requirements)

Requirements of Final Brandmarks:

• Design two marks for your design business
  • The marks must be of different types (wordmark/logotype, signature or emblem).Do not create two marks of the same type.
  • Symbols (pictorial or abstract) must be used with a logotype or wordmark to create a signature.
• Design both black & white (no mid-tones or gradients) and color versions for each mark.
• Each mark needs to fit within an 8″ square with 1″ margin on each side.

Final Deliverables

Final Composition:

• Arrange each mark (both b&w and color versions) on individual black matboards
• Matboard size (for each mark): 21″ x 12″ (landscape orientation)
• Place 8″ x 8″ b&w mark on the left and 8″ x 8″ color mark on the right
• 2″ margin around entire piece, 1″ between b&w and color versions
• Put your name on the back of each matboard

Process Documentation:

Place photocopies of sketches (15 min. for each mark) in a report binder with your name on it.

Digital Files:

Combine all marks into a single PDF* and upload to the class dropbox in the myACU files system.

*prefix file with your ACU username followed by an underscore (ex: bly95s_brandmark 2.pdf)

Schedule & Deadline

• Fri., Apr. 8: Introduce Project
• Mon., Apr. 11: 10 sketches complete (5 p/mark)
• Wed., Apr. 13: 20 sketches complete (10 p/mark)
• Fri., Apr. 15: 30 sketches complete (15 p/mark), Group critique
• Mon., Apr. 18: Blog post due, 20 sketches complete (10 p/mark), color exploration
• Wed., Apr. 20: Project complete – Final Presentation/Critique

Grading Criteria

Project = 15% of final course grade

Link to grading criteria.

Resources

Student Examples

• Wordmarks
• Pictorial Marks
• Abstract Marks
• Signatures + Emblems

Assignment

Design a residential kitchen that measures 15′-0″ x 18′-0″. Include an eat-in bar that will seat 4 – 5 people and the following appliances. Measurements vary by manufacturer, but these are typical approximations.

• Refrigerator: 36″w x 66″ h
• Range: 30″ or 36″w (includes an oven in the base)
• Cooktop: 30″ or 36″w
• Wall Oven: 27″w x 22″h x 27″d (single), 27″w x 45″h x 27″d (double)
• Microwave Oven: 24″w x 15″h x 20″d (counter top), 30″w x 15″h x 15″d (vent hood), 27″w x 19″h x 16″d (built-in)
• Dishwasher: 24″w x 34″h x 24″d

Use the following measurements for cabinetry guidelines:

• Lower Cabinets: 36″h x 24″d (standard) w/30″d option as needed
• Upper Cabinets: install 18″ above counter, 12″d (height variable)
• Back Splash: 4″h min., waterproof material, 18″h preferred (goes to underside of upper cabinets)
• Toe Space: 3″d x 4″h (typical)
• Upper Soffit/Furdown: 12″-14″d (depending on finish moulding used), upper cabinets can extend to ceiling
• Eating Bar Options: 30″h w/ 18″h chair seat height, 36″h w/24″h bar stools, 42″h w/30″ bar stools

As with the previous projects, students are advised to find a picture of a kitchen interior as a reference for the design. This facilitates “seeing and understanding,” and aids in making design decisions quickly to develop a realistic view.

The final drawing sheet should include a rendered one-point perspective (ink, art pencil and marker) along with a floor plan of the kitchen drafted in ink only.

Schedule

• Tuesday, Mar. 22: Introduce project and one-point perspective methodology
• Thursday, April 7: Project 4 due at the beginning of class

Project = 15% of final course grade.

Assignment

Create a presentation quality drawing of a room using an isometric view.

Media: Ink, Art Pencils and Markers

Process:

1. On a piece of paper (drawing or trace), draw an isometric rectangle (30º angle from horizontal) that is 25′-0″ wide by 26′-0″ long at 3/8″ = 1′-0″ scale. Divide the rectangle into a grid with 1′-0″ x 1′-0″ squares.

2. Overlay the isometric grid with tracing paper and, using the floor plan provided for reference, draft an isometric view of the floor plan. Use the reference points and grid to begin and include the walls, windows and door as shown. Be sure to position the platform and step on the grid as well (this will be on the same plane as the floor plan at this point).

3. Place the furnishings and accessories in the isometric view according to the position on the reference floor plan grid. Remember all areas of the drawing are at 3/8″ = 1′-0″ scale.

4. Build the interior walls up to a ceiling height of 9′-6″ on the back window wall and the fireplace/bookcase wall. (Do not draw a grid on the walls.) Locate and draw the windows on the back wall.

5. Build the furnishings and platform up in height (see Standard Heights below) in isometric view. This is accomplished by using a 30º triangle against a t-square to establish positions along axial lines. Furnishings in the foreground should be drawn first as they will obscure some elements in the background.

6. Finalize the isometric view with window treatments, art/accessories on the walls, books/collectibles within the cases, tabletop and mantel items, and upholstered furniture materials.

7. Create a final inked drawing on marker paper and render with marker and colored pencil. Mounting TBD.

Standard Heights:

• 30″ – Table on platform
• 18″ – All seat heights
• 38″-42″ – Dining chair heights
• 33″ – Back and arm of chaise
• 30″ – Firebox opening
• 42″ (min) – Mantle over fireplace w/lower edge (may be higher for design purposes)
• 36″ – Back of sectional
• 6″ – Step risers
• 30″ – Bookcase base (includes standard toe space)

Other important aspects: Be sure the size, proportion and placement of the art, plants and accessories is appropriate for balance. Remember circles in isometric view are ellipses, so use an ellipse template.

Methodology references in course text:

Sky (pg. 211), shading a tree (pg. 184, 198-200), city scape view (pg. 201-202), lighting (pg. 114+), books (pg. 101), wicker furniture (pg. 97), leather furniture (pg. 95), wall details (pg. 80-81), shadows (pg. 70-75).

Schedule + Deadline

• Tues., Feb. 22: Isometric drawings explained, Project introduced
• Thurs., Feb. 24: Draft isometric grid and floor plan, Draft back walls, windows, fireplace and bookcases, begin drafting furnishings in isometric viewDraft furnishings in isometric view with detail specific to style
• Tues., Mar. 1: Drafting of back walls, windows, fireplace and bookcases should be complete, Begin drafting furnishings.
• Thurs., Mar. 3: Introduce rendering with art markers, Begin final inked drawing on marker paper
• Tues., Mar. 8: Rendering with marker and pencil
• Thurs., Mar. 10: Rendering
• Fri., Mar. 11: Project Due by 5 p.m. (critique during class following  Spring Break)
  

Click here to view Student Examples

Overview

This project continues the exploration of different types of brandmarks, specifically those that incorporate the brand name in their creation. The challenge, besides designing a visually striking brandmark, is to discern which type of mark is most effective for the client. The following list describes each type of brandmark to be considered for this project. Here’s a good online resource with examples of each.

A Wordmark (or logotype) is a freestanding word or words. It may be a company name or an acronym. The best wordmarks imbue a legible word(s) with distinctive font characteristics, and may integrate abstract elements or pictorial elements. The distinctive tilted “E” in “Dell” activates and strengthens the one-syllable name. The IBM acronym has transcended enormous technological change in its industry. – Designing Brand Identity, pgs. 54-55 (also see pg. 126 for logotype definition)

A Pictorial Mark uses a literal and recognizable image. The image itself may allude to the name of the company or its mission, or it may be symbolic of a brand attribute. The eagle of the U.S. Postal Service is both a symbol of America and a symbol of speed and dependability. – Designing Brand Identity, pgs. 58-59

An Abstract Mark uses visual form to convey a big idea or a brand attribute. These marks, by their nature, can provide strategic ambiguity, and work effectively for large companies with numerous and unrelated divisions. Abstract marks are especially effective for service-based and technology companies; however, they are extremely difficult to design well. – Designing Brand Identity, pgs. 60-61

A Signature is the specific and nonnegotiable designed combination of the brandmark (symbol) and logotype. The best signatures have specific isolation zones to protect their presence. A company may have numerous signatures, for various business lines or with and without a tagline. –Designing Brand Identity, pg. 50

Emblems are trademarks featuring a pictorial element inextricably connected to the name of the organization. The elements are never isolated. Emblems look terrific on a package, as a sign, or as an embroidered patch on a uniform. – Designing Brand Identity, pgs. 62-63

Objectives:

• Investigate the use of words and symbols to communicate meaning
• Understand different types of brandmarks and their distinctive characteristics
• Explore the relationship between a name and its symbolic representation
• Increase typographic skills (letter spacing, word spacing, leading, scale, proportion, etc.)
• Continue to explore the use of figure/ground to distill information
• Utilize color as a stimulus for brand recognition
• Develop design process
• Refine drawing skills as an integral part of design thinking
• Increase proficiency of using software to manipulate and integrate type with objects

Assignment

Step 1: Choose one client from either the birds or bees category.

Birds (backyard/mobile chicken coops):

1. Chicken Cribs
2. Eglu
3. Breed Retreat
4. Nogg
5. Coop Dreams

Step 4: Start Designing! (You’ve probably already started this by now.) Project requirements are as follows:

Process:

• Inspiration
• Sketches (15 min. for each mark)
• Rough comps (one for each mark, black & white)
• Reading: Designing Brand Identity, pgs. 50, 54-55, 58-63, 124-133
• Writing: 1 blog post and 2 comments (see writing requirements)

Product:

• Design two different marks
  • The marks must be of different types (wordmark/logotype, signature or emblem). Do not create two marks of the same type.
  • Pictorial or abstract marks must be used with the company/product name (logotype or wordmark)
• Design both black & white (no mid-tones or gradients) and color versions for each mark.

Final Deliverables

Final Composition:

• Arrange each mark (both b&w and color versions) on individual black matboards
• Matboard size (for each mark): 21″ x 12″ (landscape orientation)
• Place 8″ x 8″ b&w mark on the left and 8″ x 8″ color mark on the right
• 2″ margin around entire piece, 1″ between b&w and color versions
• Put your name on the back of each matboard
• Create a sheet with marks at three different sizes. We will discuss this more later.

Process Documentation:

• Inspiration posted to the discussion blog.
• Place photocopies of sketches (15 min. for each mark) in a report binder with your name on it.

Digital Files:

Combine all marks into a single PDF* and upload to the class dropbox in the myACU files system.

*prefix file with your ACU username followed by an underscore (ex: bly95s_brandmark 2.pdf)

Schedule & Deadline

• Fri., Feb. 17: Discuss types of brand marks, Introduce project
• Mon., Feb. 20: Post inspiration to discussion blog. (Make sure to label the type of mark – wordmark, pictorial mark, abstract mark or emblem)
• Wed., Feb. 22: Work day
• Fri., Feb. 24: Rough comps due, Critique
• Mon., Feb. 27: Color palette selected
• Wed., Feb. 29: Work day
• Fri., Mar 2: Final presentation/critique, blog post due by class
• Mon., Mar 5: Turn in all deliverables, blog comments due by class

Grading Criteria

Project = 15% of final course grade

Link to grading criteria.

Resources

Student Examples

• Wordmarks
• Pictorial Marks
• Abstract Marks
• Signatures + Emblems