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å March 2015


How can we begin to communicate a complex idea or action using an economical combination of words, type, and image?


Identity design is a critical skill practiced by graphic designers. Before an entity (be it a company, organization, or cause) can create collateral, launch websites, pitch products or conduct campaigns, that entity must have a well-conceived identity. A well-conceived identity is not just a memorable mark (logo); it is also a considered synthesis of language and typography, image and environment. For this unit, students will attempt to encapsulate a socially responsible cause (e.g. light pollution or eliminating land mines) using a simple yet sophisticated combination of words, type, and image. The resulting logotypes or logos may serve as a catalyst for further investigation into identity systems, messaging, or audience engagement.

Learning objectives

– Communicate a complex issue using minimal language or form (identity design)
– Add layers of meaning or content to your identity (create an identity system)
– Explore unconventional methods and media for promoting your identity (engagement)

One-week assignment

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Extended portion

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4 Unit 10: Rich Rose   b 2

2 Responses to “Unit 10: Overview, Readings and Assignment”

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B Unit 9: Readings

Required Reading:
Understanding Comics, Chapter Four. Scott McLeod

Additional Readings of interest:
Vermeer: A View of Delft, Anthony Bailey
The Elements of Cinema, Stefan Sharff, also by Stefan Sharff The Art of Looking in Hitchcock’s Rear Window
Television Studies: The Key Concepts (Routledge Key Guides)
Cinema Studies: The Key Concepts (Routledge Key Guides)
Elements of Fiction Writing – Beginnings, Middles & Ends Paperback, Nancy Kress

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í Unit 9: Assignment


Part 1:
Map and sketch a day of your routine actions (as the examples that I have presented in my lecture): walking to school, having coffee, meeting a friend or going to a place such as library, etc.

Part 2:
Frame a specific part of an instance (actions) into a simple event(s) but with some kind of visual details, this should help you to create a concept or idea for your narrative with at least two images or a sequence of images through which we would visually witness a change from one image to the another image (before and after the event or action).

The sequence of your narrative study can be presented as a print exercise, there is no limit to which media or size of the print, large or small or even can be a PS animation for web banner.

Part 3:
To take the second part or another topic and make a more in-depth video narrative which are made up of several sequence of event(s) around a minute.

Extended Portion

The extenuation part of unit 9 would address in-depth the notion and concept of mise-en-scène in relation to narrative and story telling which means:
The arrangement of everything that appears in the framing – actors, lighting, décor, props, costume – is called mise-en-scène, a French term that means “placing on stage.” The frame and camerawork also constitute the mise-en-scène of a movie.

We would make and design projects based on:

1. What to shoot.
What is to be Visualized (filmed)

2. How to shoot it.
How its Visualized – (framing)

3. How to present the shot(s)
How to put together the visual material to make sense
and tell a coherent narrative – (editing)

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How does a designer make use of sequence?


How does a designer study, explore and use “sequence” — the means, the order of succession, the arrangement of things? Stories, films, books, TV, music, videos, comics, games etc all have sequence or some aspect of it. It’s a conceptual tool in the creative process of design actions.

Learning Objectives

– To study the basic elements of visual narrative: framing, types and size of shots (long, medium, close-up), points of view(s), editing and sequencing
– To become more critically aware of how images function
– To become familiar with theoretical and reflective aspects of visual narrative
– To become familiar with the mise-en-scène theory — where it has been used to construct visual composition but also it can be applied to reading and deconstructing visually elements of movies, painting or architecture etc.

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OTTO, Jürg Lehni, 2014
Brushless DC motors, chalk tool head, sprung steel reels, cables, custom made controller, Paper.js software
Based on VIKTOR (vimeo.com/16379803), and developed further as part of a commission by the Long Now Foundation in San Francisco to create a permanent installation at their space «The Interval»: longnow.org