Schedule

Mon Aug 24 (LAB)

Listen to Malcolm Gladwell

Discussion on "Process of Designing" and Bruce Mau

T-shaped Designers

Class Introduction and Timeline

Examples of Brand Book

Homework:

Identify three organizations that you love that face a problem. (for next mondays lab have this information typed and printed out, enough copies for the whole class)

select a "Business"

select a "Non-profit organization or government agency"

select a audience or "niche" group

For each example, state the perceived problem and its perceived cause

For each example, envision the end state

Read: (for this Wednesdays Lecture)

Sam Hill and Glenn Rifkin. Radical Marketing: From Harvard to Harley, 

Lessons from Ten that Brokethe Rules and Made it Big. New York, 

Harper Collins, 1999. 

Clement Mok. Time for Change, Communication Arts, 

May/June 2003. 

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Wed Aug 26 (LECTURE)

Creative Problem Solving Profile

What is Marketing? Problems vs. Symptoms and Strategy vs. Tactics

Branding Lecture and Discussion

Read: (For next Wednesdays lecture)

Theodore Levitt. Marketing Myopia, Harvard Business Review, 

Best of HBR 1960. 

Zag, Marty Neumeier

Thomas Gad. 4-D Branding: Cracking the Corporate Code of the 

Networked Economy. London: Financial Times / Prentice Hall, 2001.

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Mon Aug 31 (LAB)

Presentation and Discussion of three organizations as a group. (Be prepared)

Homework:

Perform a audit of your organization. (Due this Wednesday)

Create a notebook or other organized, usable archive for all the information requested within this audit. The quality of your documentation of the audit will significantly impact 

your ability to be successful in this project. 

• Describe the organization 
  
• Audit the communication output of the organization 
  
• Collect samples of these communications and brand expressions. 
  
• Audit the communication messages of the organization 
  
• Analyze the expressions and messages 
  
• Describe the internal attitudes within the organization 
  
• Describe the external attitudes about the organization 
  
• Define the context in which the organization functions
  

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Wed Sep 02 (LECTURE)

Marketing Positioning 

Graphing the Competition

Brand Mind Space

Zag Branding tools

MIND TOOLS

Read:

“Is the Hulk Gay?” TORO magazine, April/May 2003. 

Module 2: Tools for Understanding Complex Situations 

James Manktelow. The Mind Tools e-book. 2003 

Homework: (For Next Wednesday's LECTURE-NO CLASS MONDAY)

Using the information you have gathered and are still gathering in the organizational audit, 

complete:

Part 2: Decoding Dimensions and steps 1 to 4 to graph key aspects of your organization. Show the organization as it is today, not how you want it to be in the 

future.

Part 3: Part 3: Understanding Complexity. Based on all of your research to identify problems for your organization perform the following exercises: 

• Complexity: Appreciation 

• Complexity: Drill-Down 

• Complexity: Cause & Effect Diagrams 

FOR ALL TOOLS, PLEASE DESIGN THESE REPRESENTATIONS. MAKE THEM SING.

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Mon Sep 07 (LAB)

NO CLASS LABOR DAY

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Wed Sep 09 (LECTURE)

Presentation and Discussion of audit and graphing (to show class).

Inclass we will introduce and start: Developing a Brand Code 

Show brand book requirements and examples

Homework: (Due next Monday's LAB)

Altering the dimensions of your organization, Developing the BIG Idea and Describing the Positioning (Parts 4, 5 and 6) 

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Mon Sep 14 (LAB)

Presentation and discussion of new brand dimensions and brand code/big idea.

Discussion on "Creating Image Narratives" based on brand dimensions

Homework:

Refinements to Brand Code, Image narratives and further connecting of the dots between between strategy, positioning and the problems of an organization. 

Define brand book format and sequence and determine what needs to be in the book; Create paper prototypes of Brand Book

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Wed Sep 16 (LECTURE)

Lecture: More ways to think about brand personality

Creation Myth 

Scenarios: to make new direction more concrete

"what makes a powerful proposal?"

Classroom exercise: Restate the problem and proposed solution i.e. "Sales Pitch"

Homework:

Create final direction prototype (Round 1!) (full-color, full-size pdf in reader spreads) 

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Mon Sep 21 (LAB)

Review and discussion of brand book prototype and other brand personality tools: creation myth, brand heroes, soundtrack etc.

Homework:

Refinements to brand book (Round 2), color pdf for next monday's LAB.

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Wed Sep 23 (LECTURE)

No Class. Individual meetings and workday. I will be in 315 from 8:30-12:30, first come first feedback.

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Mon Sep 28 (LAB)

Show and Tell pdfs to the group for last minute review! Be ready to transfer file to "faculty" computer to projector large for the class to respond to.

Homework:

Refinements to brand book (Final!), print out and bind; turn in pdf (screen res and full res)

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Wed Sep 30 (LECTURE)

Final Book Due!

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Rest of the Semester:

First Module

(8:30 section with Tad, 11:30 section with Ryan)

Week One: Oct 5-7

Week Two: Oct 12-14

Week Three: Oct 19-21

Week Four: Oct 26-28 (Project is Due on the 28th)

Second Module

(11:30 section with Tad, 8:30 section with Ryan)

Week One: Nov 2-4

Week Two: Nov 9-11

Week Three: Nov 16-18

Week Four: Nov 23 (no class 25-Thanksgiving)

Week Five: Nov 30 (Project is Due on the 30th)

Last Week 

(meetings with Tad and Jeremy)

Dec 2-9 (critiques of final brand book)

Syllabus

VISC 514 Graphic Design 4
Identifying Problems and Facilitating Solutions

In this class we will continue to explore a holistic, systems approach to design. This class introduces business and design strategies associated with brand development. Emphasis will be on the methods of thinking and research which precede the making of design as well as the importance of writing and verbal presentation to your success as a designer and life in design.

PURPOSE OF THE COURSE

In order to prepare you for contemporary design practice and the need for current practitioners to be sophisticated form givers, design process facilitators and strategic design thinkers, the purpose of this course is to prepare you to successfully direct design inquiries in unstructured situations where problems are undefined and everything is fuzzy.

This course introduces you to the complex conditions of professional practice where you must identify & define unstated needs for communication design and structure, prioritize communication objectives and create powerful visual messages.


You will identify and solve challenging communication problems:

• by formulating a meaningful process of ideation that is based on
research and understanding of content, context and audiences;

• by visualizing proposed solutions and creating prototypes for
evaluation.


You will manage complex communication issues:

• by extracting maximum information from facts;

• by using strategies to break down problems into manageable parts;

• by identifying likely causes of problems;

• by recognizing the patterns that are present within given situations;

• by understanding how factors affect each other.


You will utilize techniques for effective decision making:

• by looking at a decision from all points of view;

• by selecting the most important changes to make;

• by weighing pros and cons of a decision;

• by projecting likely outcomes.


DESCRIPTION OF THIS COURSE

This fall semester course is the core GD studio for seniors in Visual Communication. For some it is the only class you have and for all of you it will require your full attention and energy. This class is brutal. Class time will be structured around:

• presentations on research methods
  
  
• seminar discussions on assigned readings
  
  
• in-depth analysis and assessment of project work in the form of regularly scheduled group critiques.
  
  
• you will present your incremental progress toward completing final objectives frequently, both to me and to the group

All research and project-based work will be pursued and completed outside of classroom instruction hours. To successfully achieve the objectives of this course, you will need to dedicate a minimum of 15 additional hours a week to complete readings, research and projects.

In this course, you will transfer your existing skills for designing to a new context. The course will present opportunities for you to apply your abilities for developing concepts and visualizing ideas to complicated “business or organization” situations. Using existing skills and some new strategies you will learn to identify and manage complex problems.

The course activities will provide a platform to specifically explore the “Identify/Define,” “Discover,” and “Develop” phases of the designing process. By doing so, you will see the alignment of the "classic" design process that you have learned and practiced in your other design courses with what business people call the "planning process". Through readings, discussions and practical projects you will experience the value of designing as a way to solve problems. In this class you will produce important evidence of your success as a creative problem solver. You will create important portfolio products that demonstrate your intellectual and technical creativity.

PRIMARY ACTIVITIES

The activities in this course will center around three projects with one central project involving the entire semester.

Core Project
For the majority of the semester you will:

independently identify and define a significant problem facing a civic institution, government agency or commercial business;

conduct research to develop a strategy to solve the problem you identified;

visualize your research;

translate your research into a persuasive and emotional visual proposal;

support your reasoning and work with process documentation


You will utilize your design analysis of a real-world situation to develop a written and visual proposal that seeks to solve a real-world problem. Your solution will respond to the needs of unique organization that functions in a complex environment, right now. Your solution will respond to the demands of real audiences within specific contexts. Your client for this design proposal is the chief executive officer of the organization.


ADDITIONAL PROJECTS

A Brand Identity project where you will visualize your organizations new brand concept through the design of various appropriate communication artifacts and experiences such as (but not limited too): logo design, brand toolkit, marketing collateral, promotional items, website, motion graphics, environmental design etc.

A Packaging Design special project where you will explore sustainable design principles and practices.

An information design challenge that will help you reflect on your academic experiences at KU thus far in an attempt to celebrate/visualize your education and empower you by making what you have learned in the graphic design program more transparent and accessible to you. Plus it will help you be critical about your portfolio and prepare as you starting talking about your book to professionals and prospective employers.


COURSE METHODS

This course will provide opportunities for students to gain design knowledge and abilities through studio projects and critique presentations. Additionally, lectures, readings, demonstrations, slide presentations, class and group discussions, and personal student meetings will be used.

To get the most out of this class and grow as a young designer, you need to approach the class work with a serious attitude and a willingness to work beyond just doing what is asked. Push yourself. Visual Communication Design is a very competitive and challenging profession, but for those who find a way to engage with the work and enjoy being challenged, the demands are well worth meeting and the rewards are truly fulfilling. This course is taught with that philosophy as a backdrop. Students are expected to commit themselves and to work hard, every day, not just for better grades but for the enjoyment that the work brings and the growth that comes with it.


ATTENDANCE

Attendance is mandatory. Work (even when unfinished) must be displayed during critiques in order to receive a grade. Late work will be lowered one full letter grade for every day that work is not turned in. A student will be given a project grade of “F” for any project that is never submitted.

Students are required to attend class. Please be in class on time and remain for the entire period. Please turn off your pagers and mobile phones. Attendance will be taken at the beginning of each class period. Three “late” marks will equal one absence. A total of 1 absence will be allowed for any reason. It is your sole responsibility to discover what happened during any class you missed. If it is necessary for you to be absent from class for more than 3 days for any reason including medical condition, you should withdraw from the class.

In the event of any absence, students are still responsible for obtaining all information & materials from the class period and completing all assignments on time. It is your sole responsibility to find out about any new work assigned during your absence.


GRADING SCALE

Excellent (A+ 98–100%, A=94–97%, A– 90–93%)
Good (B+ 87–89%, B= 84–86%, B– 80–83%)
Average (C+ 77–79%, C= 74–76%, C– 70–73%)
Below Average (D+ 67–69%, D= 64–66%, D– 60–63%)
Failing (F 59% & below)

Completing the minimum requirements outlined on an assignment sheet qualify as “C” level (or average) work. The degree and quality of effort with which a student engages in the different criteria (above or below the minimum requirements) for each assignment determines how well they do.


COURSE REMINDERS

Design Process
The central factor in determining your design ability will your understanding of visual concepts as they apply to assignments. The process of designing and how you got there is as important as any final artifact you make.

Research and multiple ideations are required for every assignment. It is vital to a successful design solution, as well as your development as a design student. All work must be thoroughly documented. Note: While the computer will usually be the ultimate tool for production, preliminary work will often be done on paper. Mock-ups, thumbnails and sketches are a way of exploring relationships quickly by thinking and making simultaneously. It allows you to see multiple ideas, compare, and arrive at a point in which to select the “best” example to develop further.

Expected Workload
Throughout the semester you are required to work a minimum of 15 hours per week outside of classes on your projects. (Many of you will find that you will need to spend even more time per week.) Please be aware that not all project work can be done at home or at your convenience.

Please also be aware that expecting yourself to continue to work a full-time or near full-time job (over 20 hrs. per week) will most likely have a negative impact on your grade. Studio course projects require a great deal of time in order to complete. It is very difficult to try and balance both a full-time job and a full load of studio classes.

Critiques
Visual Communication Design does not happen in a vacuum. Clear verbal skills are all important in communicating your ideas to clients and design team members. For all critiques, students are expected to come prepared to present their concepts, discuss how the form of their design supports their concept, and describe how they arrived at their ideas. Providing comment to your peers is a privilege. You will benefit from both giving and receiving feedback—you do not have to “like” another’s work, but you must provide insightful commentary in a courteous manner.

Academic Conduct
Please adhere to the rules as listed in the student disruptive conduct policy found at: http://www.studenthandbook.ku.edu/codes.shtml

Disabilities
Students needing special assistance or accommodation should contact the KU Academic Achievement & Access Center office at 864-4064. They are located in room 22 in Strong Hall.

Plagiarism
Is copying someone’s work or taking somebody’s idea and trying to pass it off as yours and will result in penalties as outlined in the KU student code of rights and responsibilities.

Hallmark symposium
You are required to have a minimum four semesters (2 credits) of VISC 520 for graduation.



EVALUATION CRITERIA

Design theories and practice-based knowledge

• applying communication design theories that respond to the cognitive, social / cultural, technological and physical characteristics of audiences and contexts.

Process and Methodology

• understanding and applying formal design process to solve communication problems, including the skills of research and information gathering, analysis, generation of alternative solutions, prototyping & testing and evaluation of outcomes.
  
  
• student demonstrated substantial engagement with the subject.
  
  
• developing an idea across time and sustaining work through progression and refinement.

Communication and Participation Skills

• student demonstrated professionalism by using class time effectively, managing time outside of class and preparing for each class period.
  
  
• professionalism in communicating effectively through oral and written presentations; communicating ideas clearly and concisely.
  
  
• student demonstrated professionalism by meeting deadlines (final and intermediate), demonstrating and communicating progress and preparing work for review.
  
  
• professionalism in discussions and critiques; providing feedback and responses to peers in a courteous manner and responding to relevant issues pro-actively.

Technology Skills

• hardware/software appropriateness: using the right tool for the job
  
  
• hardware/software: using the right tools to get the job done with quality
  
  
• hardware/software: using the right tool to get the job done efficiently

Conceptual and Creativity Skills

• goodness of fit: the appropriateness of form to content (concept) and contexts (audience + cognitive, social, cultural, physical human factors).
  
  
• inventiveness: the originality/engagement of the designed object formally.
  
  
• visual organization/principles: the relationship between elements in the composition.
  
  
• image sensitivity: the control of variables specifically: cropping, connotation, denotation, juxtaposition and fusion in achieving legible and expressive meaning.
  
  
• typographic sensitivity: the control of variables specifically: typeface, weight, spacing, proportion and size in achieving legible and expressive verbal/visual meaning
  
  
• motion sensitivity: the control of kinetic variables specifically: path, area, direction, weight and speed in achieving legible and expressive visual meaning.
  
  
• time sensitivity: the control of temporal variables specifically: pacing, duration, sequence, montage, transition, arc and proximity in achieving legible and expressive visual meaning.
  
  
• audio sensitivity: the control of sound variables specifically: choreography, synchronization: parallel/counterpoint, contrast and dominance in achieving legible and expressive visual meaning.