RISD Portfolio by Jennifer Magathan

{Teaching Portfolio} Jen Magathan

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{Teaching Portfolio} Jen Magathan

RHODE ISLAND SCHOOL OF DESIGN

{Table of Contents}

7 Introduction 9 History of Graphic Design Spring 2009

53 Introduction to Graphic Design Winter 2009

105 Exhibit Design Fall 2008

117 History of Graphic Design Summer 2008

{Introduction} Teaching

During my graduate study at the Rhode Island School of Design, I was fortunate to gain a well rounded education in graphic design and expand my teaching experience. I was given the opportunity by many of my professors to aid in the education of young designers. I was a teaching assistant for many different classes at RISD, but I was particularly fortunate to help students with projects in the Graphic Design History and Exhibit Design courses. These experiences were a great benefit to me in developing my own courses. While in attendance at RISD, I had the experience of developing the cirriculum for the Introduction to Graphic Design course with a fellow graduate student. We were given the freedom to develop projects and exercises which introduced young artists to the ever changing and eclectic discipline of graphic design. The following pages show the work of many of the students I encountered as a teaching assistant and instructor at RISD.

{History of Graphic Design} Spring 2009

Teaching Assistant to Doug Scott, Senior Critic, Rhode Island School of Design during Summer Session 2008. History of Graphic Design Section Leader Spring Semester 2009.

History of Graphic Design is a course that provides a chronological survey of graphic design through slide lectures. The course involves study in how graphic design responded to (and affected) international, social, political, and technological developments since 1450. Emphasis on printed work from 1880 to 1970 and the relationship of that work to other visual arts and design disciplines was a major component of the course study. In addition to the lectures, the course had a scheduled studio section in which design projects were integrated with research. This course was taught in the summer as a part of the Continuing Education Department at the Rhode Island School of Design. As a Teaching Assistant, my role had teaching responsibility because of the nature of the summer course. I aided the professor by helping to set up slide lectures, was a technical consultant (helping students with the Adobe Programs), and helped students (most of which were not design students) realize their design projects. Two assignments were given during the two week course. The first was a small poster which highlighted a particular event in graphic design history and the second was a bibliographic brochure based on a specific designer. Along with the instructor of the course I helped students with their concepts and aided in the realization of their ideas. The following pages exhibit some of the work created by the students in the course. During the Spring Semester of 2009 I was again a teaching assistant for the History of Graphic Design Course. During this time I was a section leader and was given independent teaching responsibilities. I was able to guide students through the process of developing design concepts and full fabrication of their ideas. Most of the students in this section were sophomores in the Graphic Design Department at the Rhode Island School of Design. Each student completed two design projects throughout the course of the semester: a landmark poster and a context timeline. These projects were similar to the assignments given during the summer course, but were more in-depth in research and the design process.

{History of Graphic Design} Assignments

History of Graphic Design, Rhode Island School of Design, Spring 2009.

Landmark Poster Each student was assigned a landmark in the history of visual communication. This idea, invention, school, object, or publication marked a turning point that was important to subsequent developments in graphic design. Students were to write an essay (500–750 words) about their subject’s historical importance and relationship to design and visual communication. They were also to find or create an image that illustrated the period in history in which their landmark existed. The poster was to measure 8.5" × 22".

Context Timeline Each student was assigned a designer from the history of visual communication. This designer had made an impact on the field of visual communication which was important to the development of graphic design. Students were to research biographical information, world historical context, and art history connections and develop a system of displaying this information concurrently. Students were to combine nine dates from each of the three sections and combine this information with imagery. The timelines were designed in the brochure format and students could choose the size that fit the concept best.

VILLA 1931 SAVOYE le corbusier

Landmark Poster / Villa Savoye / Alex Haung / RISD Spring 2009

In the 1920’s a new style of architecture was emerging in the world, one that was named ‘International Style’. This new movement stripped the buildings of unnecessary ornaments and focused more on the intricacies that dealt with the building’s volume. Another focus was on new construction techniques that utilized concrete, steel and industrial glazing as materials. The purpose of the ‘International Style’ was to project this ideal image of machines coming together to provide a higher level of living. ¶ Le Corbusier was one of those architects that strongly believed in this new Style. He was known as a purist that completely believed in the theoretical principles of this new architecture. He incorporated this idea of minimalism with his love of machines through the study of automobiles coming out at the time. ¶ The Villa Savoye was commissioned by Pierre and Emilie Savoye who wanted a weekend retreat overlooking the Seine River. This home of theirs in the middle of the meadow was surrounded by woods and was only a thirty-mile car ride from Paris. The size of the house was in part influenced by Le Corbusier’s love of automobiles, which was determined by the car that would be bringing monsieur and miss Savoye to this building, a 1930s limousine. Le Corbusier took the turning radius of this limousine and incorporated it into the ground level also a three-car garage. ¶ The Villa Savoye is apparent in its absolute simplicity. Many considered this building to be the climax of his work along with

the end of his so-called Purist style architecture. From the outside it almost looks like a white box that’s been raised by white columns. The smooth white of the walls are considered pure and the walls are reinforced with a concrete surface. The white columns that are supporting the building are called pilotis along with a dark green base, the garage, which raises the building so that it appears to be floating. On the top of the building is a flat roof with a garden, which leads into the interpretation of an open design plan of the outside to the inside. ¶ The modular design of the home is a result of Le Corbusier’s fascination with mathematics, the golden section and human proportions, it was also left very open to emphasize a space that could be transformed and altered. The pilotis seem to raise the house on stilts and separate it from the earth, using the land efficiently. He stuck to an abstract sculptural design with no historical ornamenting and therefore chose only a pure white for the exterior of the building with planes of subtle color on the inside. The building comes with built in furniture along with dynamic, non-traditional transitions between floors with spiral staircases and ramps. Another distinctive feature is a beautiful band of windows the ribbon windows, that wrap around the building. ¶ One of the main importances of the Villa Savoye is because it became a precedent to the future buildings of Le Corbusier. There were “The Five Points” that became his basic ideas of a new aesthetic of architecture, which were always constructed in reinforced concrete. First, the pilotis, or ground-level supporting columns, elevate the building from the damp earth allowing the garden to flow beneath the building. Second, a flat roof terrace reclaims the area of the building site for domestic purposes, including a garden area.Third, he free plan, made possible by the elimination of load-bearing walls, consists of partitions placed where they are needed without regard for those on adjoining levels. Fourth, horizontal windows provide even illumination and ventilation. And finally, the freely designed façade, unconstrained by load-bearing considerations, consists of a thing skin of wall and windows. As Le Corbusier went on to design new buildings in the world he made sure to keep to these five points that influenced his design for later years.

alex huang | jen magathan | risd 2009 Sbriglio, Jacques. Le Corbusier The Villa Savoye. Basel, Swizerland: Birkhauser Verlag AG, 2008 Quetglas, Josep. Le Corbusier Y Pierre Jeanneret Villa Savoye, “Les Heures Claires”. Alcorcon, Madrid: Editorial Rueda S.L., 2004 Sullivan, Mary Ann. “Villa Savoye--Introduction and Index” (2006) 4 March 2009 <http://www.bluffton.edu/>

In 2005 a large, crimson red slab serif font austerely

stating “THE END” claimed the impassive cover and marked the 69th and final issue of the graphic design phenomenon that was Emigre magazine. First published in 1984, Emigre was the creation of married couple Rudy VanderLans and Zuzana Licko. VanderLans was primarily responsible for the art direction and publishing of he magazine; Licko developed the fonts that were to be usedwithin the magazine and sold through their independent font foundry. Licko’s creative array of notable typefaces coupled with her ability to master the newly introduced technology of bitmaps and Macintosh computers would establish the Emigre font foundry as one of the first digital based font foundries; in turn playing a key role in securing the Emigre name in its establishment as a design landmark. In its nascence, Emigre was intended to be a cultural journal; a venue to expose and showcase not only graphic designers but artists, photographers, writers and architects alike. At the time it would have been hardly a shrewd prediction that the magazine that had originally started as an 11.5” x 17” formatted layout, featuring typesetting that had been initially done on a typewriter and then resized on a photocopier; would maturate into arguably one of the most influential, controversial and respected graphic design forums in the history of the field. Both the adoration and the animosity felt towards Emigre magazine ultimately came from the same origin. Emigre; it broke away from a

stringent, structured tradition of typography and graphic design and celebrated and utilized experimentation along with the digital format. Many felt that Emigre was instigating detriment with such corrupting efficacy that it would ultimately only lead to the demise of respectable typography and design. Contrarily, the general consensus of the modern design community was rather that Emigre was a long awaited enlivening catalyst in the evolution of art and design. VanderLans focused his content selection on talented designers who had strong and determined convictions that they were willing to sacrifice potential fame and notoriety for. The original intention of Emigre was to be little more than an avenue forlike-minded individuals to associate with others they felt an affinity with. Ironically however, it was the same unrelenting critics that had felt it dire to involve themselves and comment on this new alien

Landmark Poster / Emigre Magazine /Alexandra Grossman / RISD Spring 2009

introduction in the design field that ultimately caused Emigre to become so widely reputed and infamous. Their supererogatory criticism brought with it vast exposure for the magazine and in turn, initiated the wide spread circulation of the experimental and non-traditional work featured in Emigre out into a mass audience. If Emigre was a circle; then design and typography at the time was a square. Their work was vilified and assailed by traditionalists for disseminating visual incongruence, stunting and abusing communication. The fundamentally imperative word instigating many of the tremendously impassioned debates sparked by Emigre was in fact, communication. It was the experimental and amalgamating nature of the themes of Emigre that blurred once very clearly defined lines; lines between art and design, typography and art and artist and audience.

One of the most eloquent and apt examples of this was Emigre's interest and exposure of the Hypnopaedia pattern illustrations; quite simply, these patterns are created by orbicular rotation of a single letterform and then repeated to create a unique pattern. It was what the Hypnopaedia pattern illustrations represented that became such a befitting paradigm for one of the primary factors in the controversy. These patterns were acknowledging and giving legitimacy to the abilities of letterforms to be multifaceted, including being art forms themselves. Emigre never rejected the value or place for systematic theoretical approaches in typography and graphic design. VanderLans and Licko acknowledged and gave recognitiion to the importance of typographic principles but instead endeavored to create a visual forum that was completely disencumbered from any stringent structure or preconceived ideas as to what something “should” look like.

Emigre Magazine 1984–2005 Bibliography: 1. AIGA. Emigre. www.aiga.org/ 2. Blackwell, Lewis.

20th Century Type. California: Gingko Press Inc., 1998 3. Shaughnessy, Adrian. How To Be A Graphic Designer Without Losing Your Soul. New York: Princeton Architectural Press, 2005 4. VanderLans, Rudy. Emigre: Nudging Graphic Design, ed. Rudy VanderLans. New York: Princeton Architectural Press, 2003 5. VanderLans, Rudy and Zuzana Licko. Emigre Magazine. California : 1984-2005, www.emigre.com

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The text type is MrsEaves by Zuzana Licko for Emigre. The shapes and designs on the poster are an example of the Hypnopedia Patterns and their visual aesthetic value. The six different letters used are as follows,

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Landmark Poster / WPA Posters / Susanna Vagt / RISD Spring 2009 It must have seemed like a trivial waste of money at a time when the even manual laborers struggled for pay. But within seven years, a wealth of designs were churned out that integrated fine art and commercialism, defined a style, and gave hope to a weary people. As quoted in PM Weekly, it was “poster art more vital than any this country has ever known.” The first use of the Federal Art Project was to promote the campaigns of New York Mayor Fiorello La Guardia. These initial

Posters are not generally designed to be timeless. Theirs is an immediate purpose. Yet the posters created for the Works Progress Administration of the 1930s have survived to inspire today’s designers with their simple articulation and strong impact. But their story extends beyond picture making. The WPA posters’ endurance through one of the darkest times in American history, the Great Depression and World War II, is a powerful inspiration to a world of constant struggle and constant design needs. The Great Depression saw a 30% loss in our country’s employment, a crisis President Franklin D. Roosevelt answered with the New Deal Administration. The program created not only the integral work-force labor jobs, but also employment for the craftsperson, designer, and artist. This division, called the Federal Art Project, funded artists with 1% of the WPA budget to create posters, at first for national campaigns and later more indepedently.

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Efficient as it was, this process, renamed “Serigraphy” by Velonis himself, created a very different aesthetic than the painstaking posters of earlier times. The formal elements of the posters are far from impressive: limited color, small size, and uncomplicated shapes of color. One might have thought these limitations would stunt the creative process, but instead it nurtured a definitive style. The fast-paced nature of WPA poster making forced designers to think collaboratively and very quickly. The government guidelines of each poster project were also less strict than the typical commercial companies, which prompted designers to take high risks. Those, like Richard Floethe, a harbinger of the WPA style, who had studied at the Bauhaus and other Modernist/Cubist education, felt free to apply daring new ideas in simplicity and boldness. As a result, posters created for the WPA in 1935 melded high aesthetic standards with the dry and traditional

was to promote the campaigns of New York Mayor Fiorello La Guardia. These initial creations were hand-painted in small number. That ponderous approach changed when a graduate of NYU’s Fine Art School, Anthony Velonis, came on board. Velonis had worked as a commercial artist and schooled introduced the silkscreen method. With this practice, a single person could create 600 posters in one day. To educate all designers, Velonis wrote and distributed a standard issue booklet on the silkscreen process and predicted: “The silkscreen process…will undoubtedly play an important role in the future of the arts.”

www.wpaposter.com

Posters for the People: The Art of the WPA by Ennis Carter

A Guide To Chicago’s Murals by Mary Lackritz Gray

Posters of the WPA by Christopher DeNoon

practice of poster making. This aesthetic remained daring long after FAP dissolved and encroached onto the world of practical arts many years later. Within three years, in 1938, the designers of the WPA began to be commissioned broadly. Community Centers, Band Concerts, the Federal Theatre Project even large cities like Chicago asked for beautiful and experimental endorsements of their own. As many as 35,000 individual designs were crafted during this golden era of design. At the onset of World War II, WPA funding was withdrawn, and finally ceased in 1942. But a distinctive American style had been forged, and one that would continue to influence and free commercial art principles. Not only that, a new value was placed on experimentation, the silkscreen aesthetic, loose guidelines, the assymetrical format, tension-filled placement, and simple message.

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Andrew Sawyer

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RISD Graphic Design History

Section: Jen Magathan

Windsor, Alan. Peter Behrens: Architect and Designer. London: The Architectural Press, 1981.

Peter Behrens Biography. Art Directory. 05 Mar. 2009 <http://www.behrens-peter. com/index.shtml>.

Meggs, Philip B. A history of graphic design. 3rd ed. New York: John Wiley & Sons, Inc, 1998.

2. AEG logo designed in 1907

1. Poster for the AEG Arc Lamp poster and lamp designed by Behrens in 1910

Typeface: Akzidenz- Grotesk

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1857

The first photomontage is created, and Two Ways of Life” by Oscar Rejlander.

George in which

1960

1857

Rock music develops with it’s cultural origins in the United Kingdom and the United States.

1950

The first photomontage is created, and is named “The Two Ways of Life” by Oscar Rejlander.

1913

Audio started to be recorded through analog technology onto Extended Play Records and Long Play Records around this time.

Leica designs and produces the first practical 35mm camera. First prototypes were built by Oskar Barnack.

1884

George Eastman develops the photographic technology in which modern photography utilizes.

1920

The cultural movement, Surrealism, begins. Surrealist art and literature sought to express the creative potential of the unconscious mind, through irrational juxtapositions of images.

Designer Timeline / Vaughan Oliver /Alex Huang/ RISD Spring 2009

1963

Philips designes the cassette tape ing much easier and in turn influe

1957

Vaughan Oliver is born in Sedgefield, England.

Rock glam

d is named “The

1913

A o th

Leica designs and produces the first practical 35mm camera. First prototypes were built by Oskar Barnack.

884

1920

Eastman develops the photographic technology h modern photography utilizes.

e which made recordenced cover designs.

970

k music develops into subgenres like soft rock, m, heavy metal, hard and progressive punk.

The cultural movement, Surrealism, begins. Surrealist art and literature sought to express the creative potential of the unconscious mind, through irrational juxtapositions of images.

1980

1981

1970

Oliver starts a loose alliance with photographer, Nigel Grierson, called 23 Envelope. Together they would use this name on all collaborative projects until 1987.

1990

1988

Modern English - Gathering Dust Oliver’s first freelance project with 4AD before becoming a full-time employee.

Collaboration with 23 Envelopes ends and Oliver starts V23 independently.

1982

The Compact Disk is invented and completely changes the way that covers and sleeves are designed.

Grafitti starts to become associated with anti-establishment punk rock.

1981

Modern English - Mesh and Lace First sleeve credited to 23 Envelope.

2001

The Breeders - Pod Oliver incorporates himself into his work a lot. Here he is photographed dancing nude with a belt of dead eels strapped to him.

1994

1983

Xmal Deutshland - Fetisch Oliver was known to use grungy tactile techniques and often mixed type in the designs of his covers.

2002

iTunes is introduced by Apple, a huge marketplace of mp3’s. Completely changes how covers of CDs are designed because now you have to be able to see the cover on the screen of an iPod.

2008

The Breeders - We’re Gonna Rise

The Mountain Goats - See America Right The Mountain Goats - Tallahassee

A new technique of recording is invented called mp3. Greatly reduces the size at which audio needs to be recorded, and suddenly music can transfer quickly.

1989

Pixies - Here Comes Your Man Oliver’s trademark of beautiful photography incorporated with minimal type is especially evident in this Pixies cover and sleeve.

1999

1994

This Rimy River exhibition at the Murray Feldman Gallery/Pacific Design Center in Los Angeles featuring Oliver’s work from 1988 to 1994.

Napster, a huge community of free online music that you can download for free, is launched.

2008

2001

Torrent server The Pirate Bay is created, making downloading free music extremely easy and fast.

2001

Kazaa follows Napster but instead of a centralized place for music, they introduce peer to peer sharing.

Blacksand - Barn

2006

TV on the Radio - Return to Cookie Mountain

DESIGN BY: ALEX HUANG jen magathan | risd 2009 SOURCES: Vaughan Oliver: Visceral Pleasures, by Rick Poynor Vaughan Oliver: This Rimy River, by Vulua O’Reighan http://rateyourmusic.com http://www.leninimports.com/vaughanoliver1.html http://www.mediabistro.com COLOPHON: Adobe Garamond Pro, Helvetica, Brauer Neue, Trade Gothic Océ Alternative Matte Photopaper 7.6Mil (risd)prints concept link

1960

Rock music develops with itâ&#x20AC;&#x2122;s cultural origins in the United Kingdom and the United States.

1950

Audio started to be recorded through analog technology onto Extended Play Records and Long Play Records around his time.

1963

Philips designes the cassette tape which made re ing much easier and in turn influenced cover desi

1957

Vaughan Oliver is born in Sedgefield, England.

Designer Timeline / Vaughan Oliver /Alex Huang/ RISD Spring 2009

1970

Rock music develops glam, heavy metal, h

ecordigns.

s into subgenres like soft rock, hard and progressive punk.

1980

Modern English - Gathering Dust Oliverâ&#x20AC;&#x2122;s first freelance project with 4AD before becoming a full-time employee.

1981

1970

Oliver starts a loose alliance with photographer, Nigel Grierson, called 23 Envelope. Together they would use this name on all collaborative projects until 1987.

Grafitti starts to become associated with anti-establishment punk rock.

Mod First

1982

The Compact Disk is invented and completely changes the way that covers and sleeves are designed.

981

dern English - Mesh and Lace t sleeve credited to 23 Envelope.

Designer Timeline / Vaughan Oliver /Alex Huang/ RISD Spring 2009

1983

Xmal Deutshland - Fetisch Oliver was known to use grungy tactile techniques an often mixed type in the designs of his covers.

1988

Collaboration with 23 Envelopes ends and Oliver starts V23 independently.

1989

Pixies - Here Comes Your Man Oliverâ&#x20AC;&#x2122;s trademark of beautiful photography incorporated with minimal type is especially evident in this Pixies cover and sleeve.

1990

2001

The Breeders - Pod Oliver incorporates himself into his work a lot. Here he is photographed dancing nude with a belt of dead eels strapped to him.

1994

iTunes is introduced by A of mp3â&#x20AC;&#x2122;s. Completely ch designed because now yo cover on the screen of an

A new technique of recording is invented called mp3. Greatly reduces the size at which audio needs to be recorded, and suddenly music can transfer quickly.

1999

1994

This Rimy River exhibition at the Murray Feldman Gallery/Pacific Design Center in Los Angeles featuring Oliverâ&#x20AC;&#x2122;s work from 1988 to 1994.

Designer Timeline / Vaughan Oliver /Alex Huang/ RISD Spring 2009

Napster, a huge community of free online m you can download for free, is launched.

2002

Apple, a huge marketplace hanges how covers of CDs are ou have to be able to see the n iPod.

music that

The Mountain Goats - See America Right The Mountain Goats - Tallahassee

2001

Torrent server The Pirate Bay is created, making downloading free music extremely easy and fast.

2001

Kazaa follows Napster but instead of a centralized place for music, they introduce peer to peer sharing.

2008

The Breeders - We’re Gonna Rise

2008 Blacksand - Barn

2006

TV on the Radio - Return to Cookie Mountain

Designer Timeline / Vaughan Oliver /Alex Huang/ RISD Spring 2009

n a m k r e W N . H ner g i s e h D 945 c t u D o1 t 2 188

June 17 1885The Statute of Liberty arrives in NY Harbor

rew

And

yer

Saw

May 20 1882 the triple alliance formed between Germany/ AustriaHungary/ Italy

Hendrik Nicolaas Werkman Born on April 29th 1882 in Leens, Holland. He was the second of three sons.

ic Goth istory tury gn H Cen Desi and phic 009 s ra n n G ng 2 aha e Sa Spri Magn s: Ston Jen ecace Typ

Designer Timeline / H.N. Werkman /Andrew Sawyer / RISD Spring 2009

1880 - 1910 B and Crafts m

1890 – 1914 Art Nouveau begins in France 1916 - Da-Da Art Movement begins in Zurich, Switzerland

April 1909

1917 – Theo van Doesburg (Dutch Painter) helps found De Stijl journal

Married to Jansje Cremer

1920 Aug 1 1914 WW1 begins 1919 – 1933 Bauhaus art movement in Germany 1903 - Dutch railway strike

British Arts movement 1921- first robot built

1890 – 1914 Art Nouveau begins in France

man Werk H.N ner esig hD 5 Dutc to 194 2 188

June 17 1885The Statute of Liberty arrives in NY Harbor

1917 – Theo van Doesburg (Dutch Painter) helps found De Stijl journal

Married to Jansje Cremer

Saw

May 20 1882 the triple alliance formed between Germany/ AustriaHungary/ Italy

1928 - Penicillin discovered by Alexander Fleming (Scottish)

1916 - Da-Da Art Movement begins in Zurich, Switzerland

April 1909

yer

rew

And

1923- Werkman’s printing business collapsed

1920 Hendrik Nicolaas Werkman

Aug 1 1914 WW1 begins

Born on April 29th 1882 in Leens, Holland. He was the second of three sons.

ic y Goth n Histor ury Cent Desig hic and Grap 2009ahan Sans Spring Magn : Stone Jen aces Typec

1919 – 1933 Bauhaus art movement in Germany 1903 - Dutch railway strike

1923 – Television (or iconoscope) invented by Vladimir Kosma Zworykin

1880 - 1910 British Arts and Crafts movement 1921- first robot built

1923 Werkman began work on The Next Call an experimental typographic publication which influenced designers such as Kurt Schwitters and Dick Dooijes

He began using a German hand press as an avant-garde artistic tool.

1924- The Next Call began to be exchanged with about 30 other avant-garde publications

1925 - Exposition pavilion de l’Esprit Nouveau by the Swiss architect Le Corbusier create (one of the strongest and most influential reactions against the Art Deco movement)

and writings as far away as Tokyo and was recognized by many prominent Da-Da and constructivist artists.

Between 1923 and 1929

Werkman used typewriters as a drawing tool.

1928 – In New York The American Designers’ Gallery opened in and introduced consumers to modern interiors and furnishings

He called them “Tiksels” after the dutch word Tikken (to type)

In November 1929 Werkman makes his only trip outside of the Netherlands

1929 - The Great Depression begins

1940

1941-publications called De Blauwe Schuit (The Blue Barge)

1954- prizes given in Amsterdam in honor of Werkman

July 16, 1945 Atomic Bomb invented

a publishing venture to strengthen the morale of the Dutch people during the occupation.

1928 - Rene Magritte produces The Trechery of Images. Which included the caption “Ceci n’est pas une pipe” (“This is not a pipe”)

May 10 1940 Germany invades the Netherlands and stays for five years

Sources

– H.N Werkman by Alston W. Purvis – Hendrik Werkman by Dick Dooijes – The Metropolitan Museum of Art history timeline (http://www. metmuseum.org/toah/ – http://www.coins.nd.edu/ColCoin/ ColCoinIntros/Netherlands.html

On March 13, 1945 Werkman was arrested

Killed April 9, 1945 by firing Squad

by the Sicherheitspolizei (Dutch security police)

1923- Werkmanâ&#x20AC;&#x2122;s printing business collapsed

1923 Werkman began work on The Next Call an experimental typographic publication which influenced designers such as Kurt Schwitters and Dick Dooijes

He began using a German hand press as an avant-garde artistic tool. 1923 â&#x20AC;&#x201C; Television (or iconoscope) invented by Vladimir Kosma Zworykin

Designer Timeline / H.N. Werkman /Andrew Sawyer / RISD Spring 2009

1924- The Next Call began to be exchanged with about 30 other avant-garde publications

1925 pavili Nouv archit create (one o and m reacti Art D

and writings as away as Tokyo was recognized many promine Da-Da and constructivist ar

1928 - Penicillin discovered by Alexander Fleming (Scottish)

- Exposition ion de l’Esprit veau by the Swiss tect Le Corbusier e of the strongest most influential ions against the Deco movement)

s far and d by ent tists.

Between 1923 and 1929

Werkman used typewriters as a drawing tool.

1928 – In New York The American Designers’ Gallery opened in and introduced consumers to modern interiors and furnishings

In November 1929 Werkman makes his only trip outside of the Netherlands

1928 - Rene Magritte produces The Trechery of Images. Which included the caption “Ceci n’est pas une pipe” (“This is not a pipe”)

He called them “Tiksels” after the dutch word Tikken (to type)

1929 - The Great Depression begins

1940

1941-publications called De Blauwe Schuit (The Blue Barge)

July 16, 1945 Atom Bomb invented

a publishing venture to strengthen the morale of the Dutch people during the occupation.

May 10 1940 Germany invades the Netherlands and stays for five years

On March 13, 1945 Werkman was arrested

by the Sicherheitspolizei (Dutch security police)

Designer Timeline / H.N. Werkman /Andrew Sawyer / RISD Spring 2009

1954- prizes given in Amsterdam in honor of Werkman

mic

Sources

Killed April 9, 1945 by firing Squad

1923 Began a career in advertising.

1919 Set sail for America.

1918 World War I ended on November 11.

Birth: November 5, 1893 in France.

Launched a company to market his rubber band airplane design at age fifteen.

1921

Launched a company to market his rubber band airplane design at age fifteen.

The Man Who Shaped America

Raymond Loewy was born in Paris, France as the third son of a wealthy family of educators, physicians and journalists. At the age of fifteen, he designed a model airplane, registered a patent and formed Ayrel Corporation to produce and sell the finished product. He soon turned to boat design, winning an award for a three foot long model speedboat, which led to an interest in engineering. In 1919, after serving with distinction in the French Army, he set sail for the United States, where his two brothers were living. Speaking only fundamental English, Raymond’s first job in New York City was at Macy’s department store as a storefront window designer, which did not last very long, but led to a career in advertising.

1921

Worked as an illustrator for magazines such as Harper’s Bazaar and Vanity Fair.

The Roaring Twenties Raymond made his way into the publishing industry, doing artwork in ads for Condé Nast, appearing in Harper’s Bazar and Vanity Fair. The relationships he formed during these years had a major impact upon his later success. By 1928, Raymond started doing freelance work for companies such as Lucky Strike and White Star Line, but soon turned away from magazine work. Within a year, he launched his career in industrial design when a British manufacturer commissioned him to remake a mimeograph machine, which he transformed with the technique of streamlining. When the Great Depression hit America, Raymond’s career suffered, but he never looked back toward the advertising industry.

1928

Dabbled in marketing with his work for White Star Line Transport.

1930

Hired by the Hubb Motor Company to redesign the title car.

The Thirsty Thirties After marrying his first wife, Jean Thomson, in 1931, Raymond designed the timeless Westinghouse clock radio, in pure mahogany, and a popular car, the Hubmobile, under his newly formed design and style company. By the middle of the decade, which in essence saw the beginning of industrial design in America, he undertook refrigerator design for Coldspot.

1939

Hired by Lucky Strike to redesign the cigarette package.

1945 Bombs were dropped on Hiroshima and Nagasaki.

1941 The attack on Pearl Harbor brought American into WWII.

1934 Designed the Coldspot Refrigerator for Sears.

1929 Left commercial illustration.

1926 The Ford Model A was produced in secrecy.

Raymond made his way into the publishing industry, doing artwork in ads for Condé Nast, appearing in Harper’s Bazar and Vanity Fair. The relationships he formed during these years had a major impact upon his later success. By 1928, Raymond started doing freelance work for companies such as Lucky Strike and White Star Line, but soon turned away from magazine work. Within a year, he launched his career in industrial design when a British manufacturer commissioned him to remake a mimeograph machine, which he transformed with the technique of streamlining. When the Great Depression hit America, Raymond’s career suffered, but he never looked back toward the advertising industry.

1923 Began a career in advertising.

1919 Set sail for America.

1918 World War I ended on November 11.

1908

The Early Years

Designer Timeline / Raymond Loewy / Christopher MacFarlane / RISD Spring 2009

The Roaring Twenties

Birth: November 5, 1893 in France.

The Man Who Shaped America

The Early Years

Worked as an illustrator for magazines such as Harper’s Bazaar and Vanity Fair.

1939 Debuted the Pennsylvania Railroad S-1 at the World’s Fair.

1908

1949

Dabbled in marketing with his work for White Star Line Transport.

1930

Hired by the Hubb Motor Company to redesign the title car.

1939

1945 Bombs were dropped on Hiroshima and Nagasaki.

1941 The attack on Pearl Harbor brought American into WWII.

1939 Debuted the Pennsylvania Railroad S-1 at the World’s Fair.

1934 Designed the Coldspot Refrigerator for Sears.

1929 Left commercial illustration.

1926 The Ford Model A was produced in secrecy.

1928

Hired by Lucky Strike to redesign the cigarette package.

The Thirsty Thirties

1949

Appeared on the cover of Time Magazine.

During the war years, although industrial design hit a rocky patch because of the need for metals in the war, Raymond prospered by designing a cardboard lipstick holder. As an active designer, he was able to maintain relationships with large corporations such as General Motors, for whom he built many experimental personal cars during the war, Greyhound and Coca-Cola. One company that thrived, Lucky Strike Cigarettes, commissioned Loewy to rework their packaging, a design that survived more than sixty years. In 1948, while in France, Raymond and his second wife, Viola Erikson, became honorary citizens of Paris.

1954

Designed the Greyhound bus.

The Nifty Fifties With the principles of industrial design established in America, Loewy and his company took to designing both packaging and identity for Nabisco. At the same time, Shell International looked to build their image, first with architectural changes that marked the beginning of a twenty five year long bond. By the middle of the decade, Raymond continued to pursue his passion for automobile design with BMW and the United States Department of Transportation.

1962

Introduces new details to the Air Force One.

The Swinging Sixties With John F. Kennedy in the oval office, Loewy was asked to design the exterior markings and interior architecture of Air Force One, which lead to a partnership with NASA, working on The Saturn-Apollo Skylab. Aside from working with the government, Raymond’s company designed the logo for Exxon and the Sir Etienne Cartier Center in Montreal. After the president’s death, while working on the memorial, Loewy was asked to design a postage stamp to honor JFK by his wife, Jacqueline.

After selling the American based office of Raymond Loewy International to focus on design activities in Europe, Raymond’s work for Shell International, a trademark and selfserve station design, was gaining publicity. In 1975, the Smithsonian Institution opened a exposition highlighting Loewy’s accomplished and influences within industrial design. Toward the end of the decade, his company began to focus largely on graphics and packaging.

1982

After working for NASA, named one of the most influential Americans by LIFE.

1995 An exhibit opened at the Smithsonian Institution displaying the seven decade lifework of the designer.

Death: July 14, 1986 in Monaco, France.

1964 The JFK Memorial stamp was issued on May 29.

1967 Designed the corporate identity for both Shell and Exxon.

The Nineteen Seventies

1973 United States withdrew from Vietnam on January 27.

The Nineteen Forties

1963 John F. Kennedy was assassinated.

1958 NASA was established on July 29.

1953 The Transistor Radio was invented.

on Hiroshima and Nagasaki.

After marrying his first wife, Jean Thomson, in 1931, Raymond designed the timeless Westinghouse clock radio, in pure mahogany, and a popular car, the Hubmobile, under his newly formed design and style company. By the middle of the decade, which in essence saw the beginning of industrial design in America, he undertook refrigerator design for Coldspot.

Typefaces: Futura & Franklin Gothic Medium Epson Matte Presentation Paper

Christopher O’Shaughnessy MacFarlane Jennifer Magathan RISD 2009

The Nineteen Eighties By the last decade of his life, Raymond Loewy had lived as a playboy, a family man, an international icon and a renowned innovator. Eventually, financial pressures lead to the fall of his businesses, but, today, Loewy is generally recognized as one of the founders of the profession known as industrial design.

1. Porter, Glenn. Raymond Loewy: Designs for a Consumer Culture, 2002. 2. Schonberger, Angela. Raymond Loewy: Pioneer of American Industrial Design, 1990 3. The Designs of Raymond Loewy. Smithsonian Institution Press, 1975. 4. Jodard, Paul. Raymond Loewy, 1992.

Appeared on the cover of Time Magazine.

The Nineteen Forties During the war years, although industrial design hit a rocky patch because of the need for metals in the war, Raymond prospered by designing a cardboard lipstick holder. As an active designer, he was able to maintain relationships with large corporations such as General Motors, for whom he built many experimental personal cars during the war, Greyhound and Coca-Cola. One company that thrived, Lucky Strike Cigarettes, commissioned Loewy to rework their packaging, a design that survived more than sixty years. In 1948, while in France, Raymond and his second wife, Viola Erikson, became honorary citizens of Paris.

1954

Designed the Greyhound bus.

Designer Timeline / Raymond Loewy / Christopher MacFarlane / RISD Spring 2009

1962

Introduces new details to the Air Force One.

The Swinging Sixties With John F. Kennedy in the oval office, Loewy was asked to design the exterior markings and interior architecture of Air Force One, which lead to a partnership with NASA, working on The Saturn-Apollo Skylab. Aside from working with the government, Raymondâ&#x20AC;&#x2122;s company designed the logo for Exxon and the Sir Etienne Cartier Center in Montreal. After the presidentâ&#x20AC;&#x2122;s death, while working on the memorial, Loewy was asked to design a postage stamp to honor JFK by his wife, Jacqueline.

1967

1964 The JFK Memorial stamp was issued on May 29.

1963 John F. Kennedy was assassinated.

1958 NASA was established on July 29.

1953 The Transistor Radio was invented.

1949

Designe for both

The Ninet

After selling th Raymond Loe design activit for Shell Inter serve station 1975, the Sm exposition hig and influence Toward the e began to foc packaging.

he American based office of ewy International to focus on ties in Europe, Raymond’s work rnational, a trademark and selfdesign, was gaining publicity. In mithsonian Institution opened a ghlighting Loewy’s accomplished es within industrial design. end of the decade, his company cus largely on graphics and

1973 United States withdrew from Vietnam on January 27.

teen Seventies

1982

After working for NASA, named one of the most influential Americans by LIFE.

1995 An exhibit opened at the Smithsonian Institution displaying the seven decade lifework of the designer.

Death: July 14, 1986 in Monaco, France.

ed the corporate identity h Shell and Exxon.

Typefaces: Futura & Franklin Gothic Medium Epson Matte Presentation Paper

Christopher O’Shaughnessy MacFarlane Jennifer Magathan RISD 2009

OLD MARKS NTER NOT TO TRIM TH CROP AND BLEED MARKS

Bibliography London Transport Museum. www.ltmcollection.org AIGA. E. McKnight Kauffer. www.aiga.org Webb, Brian and Peyton Skipwith. E McKnight Kauffer (Design). United Kingdom: Antique Collectors’ Club Ltd, 2007 Haworth-Booth, Mark and Graham Twemlow. E. McKnight Kauffer: A Designer and His Public. United Kingdom: Victoria and Albert Museum; Fully Rev. & Updated edition, 2005

Ackley, Clifford S. and Stephen Coppel. British Prints from the Machine Age: Rhythms of Modern Life 1914-1939. United Kingdom: Thames & Hudson, 2008

Colophon This timeline map was created in Adobe Photoshop CS3 and Adobe InDesign CS3. It was inspired by images of the walls of the subway stations at the turn of the century. Each poster was created individually using one of 25 different early 20th century inspired fonts: Kino MT, Ironik Nf, Fairfax Station NF, DeusenburgSSK, Mabella, Riesling, KismetNormal, Nadall, Phoenix, Playbill, Phosphorus Sulphide, Raconteur NF, SF Speakeasy, Studebaker, Smartfrocks NF, Kismet-Normal, MadAve, Garton, Edition, Finchley, Dyer, Eccentric STD, Deutsch Gothic, Desdemona, Coventry Garden NF.

It has been printed on a laser printer using matte paper with a satin finish. Each poster is color coded by a stamp. The designer’s life and work The historical context of the time/place The art/design/architecture context

Alexandra Grossman Section: Jen Magathan RISD 2009

Designer Timeline / E. McKnight Kauffer / Alexandra Grossman / RISD Spring 2009

PUT IN FOLD MARKS TELL PRINTER NOT TO TRIM FOLD WITH CROP AND BLEED MARKS

Ackley, Clifford S. and Stephen Coppel. British Prints from the Machine Age: Rhythms of Modern Life 1914-1939. United Kingdom: Thames & Hudson, 2008

Alexandra Grossman Section: Jen Magathan RISD 2009

Designer Timeline / E. McKnight Kauffer / Alexandra Grossman / RISD Spring 2009

GRAPHIC DESIGNER (1934â&#x20AC;&#x201D;)

Derek Bird s a ll

1934 Derek Birdsall is bor n in Wakefield, Yor kshire

1924

1931

Lissitski writes Isms of Art

Theo van Doesburg dies; De Stijl movement ends

1940

Winston Churc Neville Chambe ish Pr ime Minis

Designer Timeline / Derek Birdsall / Susanna Vagt / RISD Spring 2009

chill replaces er lain as Br itster

1962 Gill, Alan Fletcher and Colin Forbes established Fletcher/ Forbes/Gill design studio, the forer unner of Pentagram (design studio).

Enter s Wakefield College of Ar t to major in â&#x20AC;&#x153;letter ingâ&#x20AC;?. He buys a pr inting press and bor rows type from the school to manufacture cards for local businesses

Enlists for National Ser vice on ROAC , Royal Army Ordinance Corps Printing Unity

1949

1955

1947

Adr ian Fr utiger designs Univer s typeface

Maconochie designs tinned food labels

1954

1961 The Sunday Telegraph, a British broadsheet newspaper, is founded as sister newspaper to The Telegraph

1950

1969

Korean War begins

Monty Python fir st air s on the BBC on October 5

Against stiff competiti wins the commission f new edition of Commo ship, the book of litur for ms and ser vices be ing to the Church of E

1970

1977

1983

Restyles Penguin Education ser ies

Designs Monty Python book for a few compr ising temporar y member ship of the comedy group and 1/7 of the royalties

Birdsall is made Royal Designer for Industr y

1978

1984

1995

Ger t Dumbar and Ko Sligger s design hospital signage system

Macintosh computer is introduced

Br uce Mau and Rem Koolhaas create giant book, or â&#x20AC;&#x153;freefall in the typographic imaginationâ&#x20AC;?, S,M,L,XL

2000

1971

1980

1987

1991

Folk Rock group Jethro Tull releases Aqualung

Queen Elizabeth II becomes fir st Br itish monarch to make state visit to the Vatican

Mikhail Gorbachev and Ronald Reagan sign INF Treaty at the White House

Soviet Union dissolves

Susa

Jen M

Designer Timeline / Derek Birdsall / Susanna Vagt / RISD Spring 2009

ion for a on Worgical elongEngland

2004 Yale publishes Birdsall’s Notes on Book Design: introduces “simply the decent setting of type and the intelligent layout of pictures based on a rigorous study of content”

2007 Near ly 1500 individuals contr ibute to the writing and editing of A Million Penguins, Penguin Publisher’s collabor ative project.

“ I admit no greater thrill than getting a telephone call from an author who wants me to design his book or its jacket.”

anna Vagt

Sources:

ISD 2009

Notes on Book Design, Derek Birdsall

Magathan

The Technology of Man, Derek Birdsall Monty Python and the Holy Grail, Derek Birdsall www.designmuseum.org/design/derek-birdsall www.designarchives.aiga.org/entr y.cfm/eid_570

{Introduction to Graphic Design} Winter 2009

Co-Instructor, Rhode Island School of Design during Wintersession 2009.

Introduction to Graphic Design is a course I co-taught with Mary Banas during the Rhode Island School of Design Wintersession of 2009. We produced the curriculum for the course based on the requirements of the Department of Graphic Design at the Rhode Island School of Design. We were both responsible for developing three major projects for students to complete during the course as well as author lectures, demonstrations and arrange field trips which were to aid in our instruction of the course. Wintersession is a six week period at RISD, between Winter Break and the beginning of the Spring Semester in which students may take courses outside their majors. This allows students at RISD to develop relationships with other departments and fosters interdisciplinary work. It is also a time for freshmen to take courses which will aid them in the choosing and declaration of a major. Most of the students who took the Introduction to Graphic Design Course this Wintersession were freshmen. It gave them a chance to receive a comprehensive overview of the type of projects and subjects they would cover in the three year study of Graphic Design at RISD. Mary and I developed projects that allowed students to author their own content as well as develop the basic skills in thinking and working as a Graphic Designer. These projects also allowed the students to teach each other about different designers, topics and concepts. Through the completion of three major projects and one presentation, the students were presented with a broad survey of the processes and practices of Graphic Design. The following is a comprehensive overview of the course, including the syllabus complete with project descriptions, student work, and teacher evaluations of the course.

{Introduction to Graphic Design} Syllabus

Course Description This course serves as an introduction to the fundamental practices and processes of graphic design. The intent of the class is to understand what graphic design is and what graphic design is for. Through a series of graphic design projects based on printed matter such as postcards, posters and books, students will gain basic knowledge in typography, color, grids as well as diverse graphic forms and methods of storytelling. This course is structured around three projects which will explore basic graphic design vocabulary. It will familiarize students with the different stages of process and provide a broad technical foundation. Students are required to participate by inviting and providing constructive criticism within the class context. Objectives 1. To grasp a fundamental understanding of graphic design. 2. To acquire an understanding of how to communicate visually. 3. To learn how to critique classmates in a constructive way. 4. To become aware of traditional design methods and tools, as well as industry-standard programs including: Adobe Photoshop, Illustrator, and InDesign. Grading Students will be graded according to attendance, effort and quality of work. Each unexcused absence will lower your grade by one level (from an A to an A-). Please email both Jen and Mary prior to any absence. Effort is demonstrated by your active participation in class, your willingness to accept and give sincere critique as well as your adherence to deadlines. Quality is measured by your ability to complete the assignments with attention to detail, creativity, craft, personal investment, and risk-taking.

{Introduction to Graphic Design} Syllabus: Schedule

WED 01/07 LECTURE: What is Graphic Design? ASSIGN: Postcard Portraits and Designer Show & Tell IN-CLASS: Interviews HOMEWORK: Postcard sketches

THU 01/29 MOVIE: Helvetica IN-CLASS: Refine letter-cropping sketches HOMEWORK: Research typefaces, write first draft of 250 word essay, sketches for book spreads.

THU 01/08 IN-CLASS: Crit postcard sketches, work on postcards, Adobe program tutorials HOMEWORK: Refine postcards, print

WED 02/04 DEMO: Book Making (glue bind) FIELD TRIP: RISD Fleet Library Rare Books Room IN-CLASS: refine book spreads, book printing demo HOMEWORK: Refine and finalize book spreads

WED 01/14 LECTURE: Mind-Mapping MOVIE: 901- After 45 years of Working (The Films of Charles & Ray Eames) IN-CLASS: Final postcard crit, mind-mapping demo, individual mind-mapping HOMEWORK: Mind-map of given object THU 01/15 LECTURE: Posters ASSIGN: Poster HOMEWORK: Three directions for poster WED 01/21 IN-CLASS: Crit of three directions for poster, tiling tutorial HOMEWORK: Poster refinement

THU 02/05 IN-CLASS: Final crit for book spreads HOMEWORK: Finish final spreads and print, prepare spreads for binding WED 02/11 DEMO: Archiving Your Work IN-CLASS: Assemble books THU 02/12 Final Classâ&#x20AC;&#x201D;individual overview critique

THU 01/22 FIELD TRIP: Type Shop tour, silk-screening demo IN-CLASS: Crit single direction for tiled poster, pre-press tutorial HOMEWORK: Make final adjustments to poster and print WED 01/28 LECTURE: Typography ASSIGN: Book Project IN-CLASS: Final poster crit, begin letter cropping assignment HOMEWORK: Create ten letter-croppings from given typeface

{Introduction to Graphic Design} Syllabus: Assignments

Designer Show & Tell Each student was given a name from a list of historical and contemporary graphic designers. The student was then responsible for designing a 5 minute presentation which included, 10 examples of the designerâ&#x20AC;&#x2122;s work, interesting facts and why the student liked or disliked the work of the designer. The presentations were a chance for students to educate their classmates. Postcard Portraits Each student was to interview each of their classmates, then select a classmate who would be the subject of a series of postcard portraits. Information from the interviews were used as inspiration for developing portraits which described the chosen subject. Phase 1: Students used rough sketches to create many different ideas. At least 10 preliminary sketches of the postcards were produced. The sketches could be collaged, sketched with pen and pencil, or made using typography. The initial sketches were quick in order to generate multiple ideas and experiment with form. Phase 2: 10 sketches were narrowed down to 3 compositions, which expressed the spirit of the chosen classmate. The final postcards were constructed with the computer, using InDesign or Illustrator. The final cards could work together as one composition or they could read separately, but there had to be a series of 3 produced. Poster Project This project served as an introduction to poster design. Students began with an object derived from a mind-mapping assignment and from that theme each student developed a poster. Phase 1: Students considered the object: its essence, color, weight, texture and sound. Using the mind-mapping techniques learned in class, each student created a mindmap to generate ideas. Working in black and white only, 6 composition sketches were produced. From the sketches 3 were to be chosen to present to the class. Phase 2: 24" Ă&#x2014; 36" posters were brought to class for final review that concentrated on the original object. Students were required to edit their ideas to find a way to best communicate their concept.

{Introduction to Graphic Design} Syllabus: Assignments

Expressive Typography Book During the first phase of this project students used the first letter of their first name and the first letter of their last name, to create letter croppings with different serif and sans serif typefaces. The type specimen sheets provided, tracing paper, the Xerox machine and a writing implement were used to create the letter croppings. This was to allow students to become aware of the various structural elements in the letterforms, the positive and negative spaces created in the croppings and the variations in contrast. The next phase of the project involved creating more letter croppings with a specific, assigned typeface. These letter croppings were then used to design spreads for a class collaborative book about typography. Letterform Content: 3 different compositions were developed with the letterform croppings, in order to create the visual content book spreads. These compositions could have multiple parts or they could be a single expression of one part of a letterform. Informational Content: At least one of the spreads was to contain explanatory information about the typeface used to create the letter croppings. Each spread contained at least one letter cropping. The goal was to gain a greater understanding of the different parts which make up letterforms, and knowledge of the typefaces being used to create these forms. Book Construction: Students printed copies of their final book spreads, so that each class member could create a comprehensive book about typography and letterforms. The books were glue bound during a tutorial session. The final 8" Ă&#x2014; 8" books gave each student the opportunity to see how a book could be conceived, designed, and fabricated.

Postcard Portraits / Tammy Kim / RISD Winter 2009

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Postcard Portraits / Eunji Na / RISD Winter 2009

Poster Project / Acupuncture/Hallie Bean / RISD Winter 2009

Poster Project / Idea /Stacy Choi / RISD Winter 2009

Poster Project / Peace/ Tiffany Oldani / RISD Winter 2009

Expressive Typography Book / Hallie Bean / RISD Winter 2009

Expressive Typography Book / Megan Robinson / RISD Winter 2009

Expressive Typography Book / Jun Yeon Cho / RISD Winter 2009

Expressive Typography Book / Yoonji Kim / RISD Winter 2009

{Introduction to Graphic Design} Evaluations

100

101

102

103

{Exhibit Design} Fall 2008

Teaching Assistant to Doug Scott, Senior Critic, Rhode Island School of Design Fall Semester 2008.

Exhibit Design is a course which offers study in the presentation of information in a designed environment: the exhibit, the theme, context, and conditions of this exhibit were assigned. Study emphasis was on integrative communication activity of all elements involved, e.g., time, space, movement, color, graphics, 3-D forms, objects, instructions, text, and constructions. As Teaching Assistant for this course, I was given the opportunity by the instructor to become very involved in the students’ development of projects. My architectural background allowed me to offer specific insight into a certain assignment given during the course. Each student was assigned a specific architect and challenged with designing a kiosk (2' × 2' × 8'), which displayed information about the architect and images of the architect’s work. The kiosk was to also express the essence of the architect’s design philosophies, whether it be through material, structure or concept. I worked with the students to develop their design concepts and helped them with construction and fabrication of their ideas. The following is a selection of the students’ work.

105

{Exhibit Design} Assignment

Architect Kiosk Students were to design and construct a finely-detailed piece in the spirit of an assigned architect. They were to consider the central ideals of this architect, summarize his/her work into an elegant 3-D form and pay special attention to materials and construction. Each kiosk was to have the following: 1. Name of the Architect. 2. An image of a representative work with title. 3. A lesson that an exhibit designer can learn from this architect (250 words), typeset and presented so that one can read it from 2' away. Other requirements included: 3-Dimensional and freestanding, and it must fit into a 2' Ă&#x2014; 2' Ă&#x2014; 8' high space, and be no shorter than 6' tall. The focus of the project was to research, practice conceptual thinking and design process, consider typography, and gain an understanding of constraints. The students were also supposed to develop 3-Dimensional thinking skills and learn detailed construction techniques.

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Architect Kiosk / Alvar Aalto / James Lavine / RISD Fall 2008

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Architect Kiosk / I.M. Pei / Grace Jun / RISD Fall 2008

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Architect Kiosk / Norman Foster / Janet Cho / RISD Fall 2008

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Cynthia Park Architect Kiosk Exhibit Design Fall 2008 Doug Scott

Architect Kiosk / Carolo Scarp / Cynthia Park / RISD Fall 2008

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{History of Graphic Design} Assignments

History of Graphic Design, Rhode Island School of Design, Summer Session 2008.

Designer Biography Brochure Each student was assigned a designer from the history of visual communication. This designer had made an impact on the field of visual communication which was important to the development of graphic design. Students were to write a bibliographic essay about their chosen designer and create a brochure which displayed relevant work from the designer as well as their essay. The images used in the brochure were to be accompanied by captions and the essay typeset. The brochure was to measure 5.5" × 11" when folded, but could be as long as needed.

117

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Landmark Poster / Bauhaus / Murphy Chang / RISD

119

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Landmark Poster / The Gutenberg Bible / Maria Lee / RISD Continuing ED

121

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Landmark Poster / Isotype / Olivia Verdugo / RISD

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Landmark Poster / Lithography / Danielle Bilotta / High School Student

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Designer Biography Brochure / Ikko Tanaka / Murphy Chang / RISD

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Designer Biography Brochure / April Greiman / Kathryn Brown / U of Oregon

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Designer Biography Brochure / Wolfgang Weingart / Rosie Fulton / Endicott College

134

135