'Advanced Imaging' course book

[GD] ADVANCED

IMAGING

In this course students are challenged to create visuals through traditional techniques and digital manipulation resulting in unique and original design solutions. Hand generated artwork, compositions, collected unrelated materials, found objects & textures, scans and photographs are computer manipulated, mixed and layered to create new visual relationships.

GRAF 1087

GRAF 1087

[GD] ADVANCED

IMAGING

2016 sheerazwania for George Brown College, Toronto.

sheeraz

wania sheerazwania.com sheeraz.wania@georgebrown.ca | sheerazwania@me.com

Back Cover: Design by Mahnoor Hussian, 2016 Opposite page: Design by Quinton McLellan, 2016 All examples: Students, Graphic Design Programme, George Brown School of Design, Fall 2016

1 - Copy & paste image 2 - Duplicate layer 3 - Rotate & move laye 4 - Command + Shift + 5 - Step and Repeat

‘Anyone can learn techniques but it’s how you choose to use them that will set you apart and make your work unique.’

Margo Chase

COURSE NAME: ADVANCED IMAGING COURSE CODE: GRAF 1087 CREDIT HOURS: 42 Hours COURSE DESCRIPTION: In this course students are challenged to create visuals through traditional techniques and digital manipulation resulting in unique and original design solutions. Hand generated artwork, compositions, collected unrelated materials, found objects & textures, scans and photographs are computer manipulated, mixed and layered to create new visual relationships. The program of choice is Photoshop, but the course is about working inside and outside the computer and finally getting all digital files press ready.

COURSE OUTCOMES: Upon successful completion of this course the students will have reliably demonstrated the ability to: 1. Create abstract textured backgrounds, (black and white, and colour), using a variety of hand composition techniques.

2. Develop a resource file of backgrounds, as well a materials of interest that have visual possibilities.

3. Create multifaceted designs by layering and manipulating scanned backgrounds, photographic, vector and typographic elements.

DELIVERY METHODS / LEARNING ACTIVITIES: Presentations, technique demonstrations, projects, in-class applied assignments, class critics, class discussions and research are used.

LIST OF TEXTBOOKS AND OTHER TEACHING AIDS: Recommended: Lynda.com Photoshop tutorials, Computer Arts magazine.

PROJECT OUTLINE

PHASE 1 CREATIVE SELF PORTRAIT A self-portrait is an image, painting, sculpture, drawing or photograph whose subject is the maker of the artwork. To produce a photo self-portrait is to represent oneself or one aspect of oneself, literally or symbolically, using the camera.

A self-portrait is our inner image, our private image. It springs from the inner life of the author, who is also subject and spectator. It is the the creative process the maker, i.e. you, goes through, which allows the unconscious to speak with the language of design and creativity. The self-portrait is a profound dialogue with oneself. [selfportrait.eu] Your first task is to create a self–portrait. This portrait will conceptually represent who you are as a person. It will be photograph to start with, which you can then manipulate as you please. This is your signature, your unique personality that is reflected through what you produce.

Your portrait can portray at your emotions, essence, competencies or skills. It can be in a way your character representation, your connection with the world you live in. Examples will be shown in class on week 1.

Your will come up with your portrait by week 2 and make a 5 minute presentation in class based on your concept and process.

This portrait will be used as a part of your final book/compilation, in any creative form you desire.

Grading Parameters: 5% of total grade • Concept and why it works • Process • Class Presentation [week 2]

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GRAPHIC DESIGNER

PHASE 1 EXPLORING BACKGROUND TEXTURES Black & white Its all about Exploration

& Discovery...

..there is really no wrong here!

Visual texture is the illusion of a three-dimensional surface.

There are basically 4 types of visual texture: Actual or found textures, Simulated Textures, Abstract and Invented Textures.

For this class and we will create a various textures, which you can then use, here for all your projects, and have a resource base for the future.

While creating textures and working with them, observation is key and also keeping in mind that there are no wrong answers or techniques.

Just go for it.

After creating and collecting the visuals/textures, you will sift through the material and by using various processes [scanning, Photoshop, etc.] you will edit these ‘bits and pieces’ into visuals that establish a sense of order and purpose. Obviously some of these ‘bits’ will be more interesting to look at & deal with than others. That is a start to your visual compilation. You will start simply in black and white and move to more complicated but not necessarily more interesting or sophisticated situations.

Grading Parameters: 5% of total grade • Explorations in class and otherwise • Presentation in class [week 3]

PHASE 2 EXPLORING BACKGROUND TEXTURES Colour Just like you explored black and white textures previously, now we do the same with colour.

The idea is to go all out and explore many possibilities of created and found textures.

Use different media, look into various paper and other medium options.

Look around you and photograph found design and textures.

Your collection should have a mixture of found and created textures.

Grading Parameters: 10% of total grade • Depth of exploration and observation • Presentation in class [week 7]

PHASE 2 DIGITAL TECHNIQUES/TEXTURES/FRACTALS Just like we explored various hand techniques and textures, now its time to do the same digitally.

You all must have some great trick up your sleeve. Be it a wonderful, little known about app, or a super technique on Photoshop, that can give you an amazing result, or some effect you have learnt to create.

Share that with us in class.

Give your classmates a step-by-step tutorial.

Share your expertise and learn from each other.

Grading Parameters: 5% of total grade • Innovative and fresh ideas and technique • Presentation in class [week 9]

anged size n+T

PHASE 3 CONCEPT GENERATION The Intrigue of the number ‘7’ ‘The secret to creative thinking is to start with good problems. Then you need to turn those problems into thought provoking challenges.

After that, great ideas will almost invent themselves.’

Jeffrey Baumgartner

Come up with a concept based on the Number 7 The choice is yours but you have to run it through me and then conduct your research on the same.

THE INTRIGUE OF 7: 7 deadly sins, 7 Classical Planets (“7 Luminaires”), 7 Heavens 7 days in the week, 7 colours in the rainbow, 7th Heaven, 7 deadly sins, 7 Seas, 7 Continents, 7 Kings of Rome 7 Emperors (and period; Roman history) - Julius Caesar, Augustus, Galba, Hadrian, Nerva, Sallust, Vespasian, 7 hills of Istanbul, 7 hills of Rome, 7 Liberal Arts, 7 Wise Masters, a cycle of medieval stories 7 Wonders of the ancient world, 7 was considered a God number in ancient Egypt. The Pharaoh usually ordered things in groups of multiples of 7. For a time, 7 was not even used in writings for the people of Egypt, 7 pure notes in the diatonic scale, 7 Chakras in the basic model used in various eastern traditions and philosophies.

How do you relate to the knowledge?

Research and interpret the essence of each of your 7 concepts.

Go deep. The result can either be factual, confrontational, critical, subservient, inspirational, or philosophical.

...what you get out of something is directly proportional to what you put in.

3 CREATIVE SOLUTIONS based on Black & white textures Your creative responses could be resolved in different media to show a variation of formats or could be based on one format with variations within. Your concept and approach will dictate that.

Each solution will be based on one of your 7 concepts.

Some recommended options are : 1. Poster 2. Personal promo piece 3. Cover for a peice of fiction 4. An ad campaign 5. An LP cover 6. Opening web page Feel free to come up with other options... Make sure we discuss them.

Remember the objective is to give or create a second conversation below the surface so to give it resonance.

By using softwares to duplcate, enhance, modify, or conceptualize images derived from other media you will create some illusions; that means a non-reality that is perceived as a reality to use Friedrich Nietzsche description.

It serves to add to the effectiveness of the message.

4 CREATIVE SOLUTIONS based on colour explorations You worked the first three concepts in black and white, now the last 4 will be worked out using your colour explorations.

Grading Parameters: 20% of total grade • Process/rough work • Ideas and concepts and their translation to graphics • Attention to detail • Execution of ideas

• Presentation in class

7 WONDERS OF THE ANCIENT WORLD - Poetry Book covers

7 WONDERS OF THE MODERN WORLD Posters

7 ELEMENTS OF DESIGN - Magazine Covers

7 CHAKRAS OF THE BODY - Magazine Covers

7 TRUE COLOURS - Magazine Covers

7 CHAKRAS OF THE BODY - Essential Oils Packaging

7 LUCKY GODS [15th century Japan]- Postcards

7 DEADLY SINS - Tarrot Cards

7 DWARFS [Snow White] - Album Covers

PHASE 3 BOOK DESIGN/COMPILATION The final design solution for this course will be a complete and comprehensive creative documentation of your work experiences throughout these 14 weeks.

A compiled catalogue of all the techniques, backgrounds and preliminaries to the projects you have created, explored, scanned, and printed should be arranged in a way as to produce a hierarchy and demonstration of your process. It can be either printed and/or be in a digital format.

Use your self-portrait as a part of the book in some interesting way, if you have not done so already.

Great layout is a given ...

FORMATS: BLURB Books or InDesign.

“What do the stories look like?”

The stories can be anything… but they all have one thing in common: They all need to look like something.

They all need a face. Why? To give you a first impression of what you are about to get into.

A book designer gives form to content, but also manages a very careful balance between the two.

Chip Kidd, Designing Books is No Laughing Matter

Grading Parameters: 10% of total grade • Process/rough work • Idea and concept generation • Grids and format/book cover • Attention to detail • Execution the complete document • Presentation in class

CONTRIBUTING STUDENTS Class of Fall 2016

Aguilar, Maria Blackadder, Liam Cabardo, Alfredo Chan, Tommy Colella, Serena Dodaro, Julian Ellinas, George Hossain, Manar Jensen, Brian Mclellan, Quinton Pavlovic, Sanja Pizzale, Genevieve Recchia, Claudio Widjanarko, Christabel Yatomi, Yuka Young, Morgan

ACKNOWLEDGEMENTS: To Judith Gregory for giving me the oppurtunity to teach this course, thank you, and to Gilles Morin for his direction, it was much appreciated.

PRESENTATIONS IN-CLASS:

COURSE BOOK 2016 - 2017 SHEERAZWANIA