To Start: Find five examples of book jackets that express the spirit or personality of their Contents. Justify your choices.
BOOK COVER DESIGN SERIES
Select three books written by a different author. Read their works. Research them. Make your prelininary selections on the themes of the book. How do they fit together? How do they differ?
Write a single space half page paper describing your plans for this assignment. Write an objective statement. Define the purpose and function of the problem, the audience for the books, and the information to be communicated.
Place all your work in a Word Document. Please upload to D2L by the deadline
Design three book covers—one for each writer in your series. Design front covers and spines.
The covers must be similar in style and yet express the individuality of each writer.
The logo must appear on each cover in the same position.
Produce at least two sketches for each jacket that could be expanded into a series format.
Your solution may be purely typographic, visually driven or type-driven.
Think about the various ways the series could be tied together:
Through the use of similar visuals: illustrations, graphics, photographs, typography
Refine the sketches. Create one set of roughs for the series. Remember: Book covers are very much like posters— they must attract the potential consumer. They should have initial impact. Any book cover design must compete against other books sitting next to It on a shelf.
a. Refine the roughs and create one comp per book. b. The covers should be 8″ × 5″, held vertically. c. You may use black and white or full color.
This flexible template takes out the technical trickery of creating your own cover design, with a spine that can be resized easily, easy-to-edit layers, and a simple yet stylish design. Already set up for full CMYK printing and including a bleed, you can focus your energies on simply creating a cool design for your cover.
Includes the 2 most common paperback cover sizes:8″ x 5″ PAPERBACKB-Format PAPERBACK
Whether a poster is a promotion for an art exhibit, a musical group, or the voice of dissent, it is common to see one tacked on a wall or framed, hanging in homes and offices alongside paintings, photographs, and fine art prints. no other graphic design format has been so successful in capturing the attention and hearts of museum curators, art critics, social historians, and the public. Some people have extensive poster collections that contain either a variety of posters or a series.
EXERCISE: Catalyst for Change
A graphic design solution can be a catalyst for change. If you had a chance to raise your voice in protest through a poster, what would you protest? War? Child abuse? Pollution? What would you promote? Freedom? Clean water? To whom would you appeal? Select one cause that you deem important.
Start with a blank sheet of paper and complete the following:
➊ At the top of a page, write the name of the cause.
➋ Sketch or write as many objects as you can think of having similarities to your subject. If you’re having difficulty, use attribute listing to help you or treat this as a kind of a Rorschach inkblot test, where you simply sketch the first thing that comes to mind when asking yourself, “What might this remind me of or be similar to?”
➌ Sketch visual metaphors, at least two, for your cause.
POSTER DESIGN FOR A SOCIAL OR POLITICAL CAUSE
a. Select a social or political cause. Gather information about it. b. Find related visuals to use as references. c. Write a design brief. Define the purpose and function of the poster, the audience, and the information to be communicated. d. Generate a few design concepts. Concentrate your conceptual thinking on finding a way to prompt people to think about the cause. Select and refine one concept.
a. Determine whether the poster should be visually driven or type-driven. b. Your poster should be able to grab the attention of people walking by. c. The poster should include the social cause’s web address and phone number so that people can take action. d. Determine at least three different ways your concept could be visualized. e. Produce at least ten sketches.
a. Produce at least two roughs(In Illustrator/Photoshop) before starting the final comp.
b. Be sure to establish visual hierarchy.
c. The poster can be in either a vertical or a horizontal format. Optional: Design a companion web banner.
a. Refine the roughs. Create one Final comp. b. The size, shape, and proportion should be dictated by your strategy, design concept, and where the poster will be seen (environment). c. Use two main colors. Use supplementary colors when you feel it’s appropriate.
Upload your work to dropbox on d2l. Please submit your work as a single pdf. Arrange everything on a tabloid size artboard.
With the notion that your “handwriting” is you, your DNA so to speak, start by writing your name. Determine if your signature has any characteristics that might characterize your personality. Hand make, hand draw, or hand letter the letterforms of your name, retaining any quirks or imperfections that might just be “you.”
MON and WED 10:00 A.M. – 11:50 A.M./Rosenkrans (Convergence Room)
In this exercise, find a quote that you may have heard or that you like. Using just a sentence or two from the quote, design a graphic that conveys the feeling of your quote. You can use anything to design your graphic; paper, pens, markers, Photoshop, Illustrator. It’s entirely up to you.
You may choose your own dimensions for each project. You could do a banner, a Poster (2’x3′ or 3’x2′), Standard letter (8.5″x11″), or a postcard. These are just a few suggestions.
Complete two layouts. One solely in Illustrator, and one in Photoshop.
You have the rest of today to complete these. Please don’t rush. If more time is required we can discuss it in class. to complete these.
“Hold fast to dreams, for if dreams die, life is a broken-winged bird that cannot fly.” –Langston Hughes.
This class will be very democratic in nature. Everyone in this class has their own goals they wish to accomplish. Students will communicate their goals for this class to the instructor via conversation and a written assignment.
As the semester progresses you will be introduced with new techniques in illustrator and Photoshop. They will serve as a continuation of DMET 160 and DMET 255.
Headlines and other short phrases or blocks of text are often set in display type sizes of 18 points and larger. While readability is still important, there is more leeway for using fun or decorative typefaces in headlines. Beyond what the headline says, it needs contrast—of size or font choice or color—to make it stand out.
Many people complain about advertisements as an obnoxious way for companies to invade our everyday lives and cram their products down our throats, but that’s not all that advertisements are good for. The advertisements on this list are excellent examples of effective advertising strategies for social issue campaigns that let their voices be heard.
A well-made advertisement is designed to grab your attention and to remain in your memory long after you’ve left it behind, and that is exactly what many of these social causes need. Getting people to think and worry about various social and environmental issues (or even simply getting them to be aware of them) is important for raising public supporting and affecting meaningful changes. A few of these ads are, in fact, commercial ads, but it’s still nice that they champion socially or environmentally aware causes/products.
Just like with commercial advertisements, having just the facts is not enough. They are important, but the ad must also appeal to the observer’s emotions. Many studies have indicated that emotion can have a powerful effect on memory formation, ensuring that memories with emotion will last longer than those without.
According to “Father of Advertising” David Ogilvy, his contemporary, Howard Gossage, said that “Advertising justifies its existence when used in the public interest—it is much too powerful a tool to use solely for commercial purposes.”
Art Director: Michael Arguello, Copywriter: Bassam Tariq, Additional credits: Jason Musante
Sexual Predators Can Hide In Your Child’s Smartphone
Advertising Agency: Herezie, Paris, France
Smoking Causes Premature Aging
Advertising Agency: Euro RSCG Australia
You’re Not A Sketch. Say No To Anorexia
Advertising Agency: Revolution Brasil
Neglected Children Are Made To Feel Invisible. Stop Child Abuse Now
“To dramatize the issue of neglect, we placed mannequins dressed as children behind billposters. When the inevitable happened, we revealed a second message.” (Australian Childhood Foundation, JWT Melbourne)
Global Action In The Interest of Animals: Plastic Bags Kill
Advertising Agency: BBDO Malaysia, MALAYSIA, Kuala Lumpur / Advertising Agency: Duval Guillaume, Belgium
What Goes Around Comes Around. Keep The Sea Clean
Advertising Agency: JWT, Dubai, UAE
Tailgating Isn’t Worth It. Give Trucks Room
Advertising Agency: Amélie Company, Denver, Colorado, USA
Sleepiness Is Stronger Than You. Don’t Drive Sleepy
Advertising Agency: BBDO Bangkok, Thailand
See how easy feeding the hungry can be?
Advertising Agency: TBWAHuntLascaris, Johannesburg, South Africa
Causing Cancer By Yourself
Advertising Agency: Dentsu, Beijing, China
Deforestation And The Air We Breathe: Before It’s Too Late
Advertising Agency: TBWAPARIS, France
For The Homeless, Every Day Is A Struggle
Advertising Agency: Clemenger BBDO, Melbourne, Australia
The Prevention Beer Mug: Please Don’t Lose Control Over Your Drinking