Final Reviews... what do you present?

You need to showcase at least TWO of the FOUR projects completed in Vis. Lang. One from Carrie's section (your pick). One from my section (your pick). Showcasing means showing process as well as final work.

For my half of Vis Lang present the following:
• 1 vote poster (2nd is optional)
• show process where relevant & insightful (e.g. matrix, hand processes)

• final postcards printed on high quality, thick paper (pass around both sets)
• final annotated communication model
• show process where relevant & insightful (e.g. paper-prototypes)

• process documentation book (TURN THIS IN FOR GRADING - books will be returned by the end of the review week).

Agenda: Fri (last day of classes)

Friday will be a work day for your communication models process documentation. Carrie and I will both be available to meet with you 1-on-1 to crit/discuss the spreads.

Have the full section for the com. model project completed at the start of class, for our review. I can view it on screen or in print. But you need to have a few pages printed in color to judge color, text size, etc.

Turn in (a) final/complete process documentation book (all 4 projects, bound) at final review.

Section 01: Turn in (b) final com. models and (c) postcards in class. I'll return all components to you by the end of the day so you'll have for final reviews. If it is digital drop on CAS or post to your blogs and email me so I know where to look.

reminder: for process documentation pages

address all phases for this project. E.g. include and label some of the ways you rendered the object in the first postcard, include outside research that impacted the third postcard's direction, show the original communication model (un-annotated).

expectations for final crit

NOTE: We will crit the presentation, final postcards and model on MONDAY, but you will turn-in all project components (plus process doc. pages) on FRIDAY.

Present with your partner
• Both postcard series (similar to the 1-sentence overview provided to Kathy)
• you will be evaluated for the clarity and pertinency of your team presentation

• Annotated models
if digital and needs projection drop on CAS before start of class and email me so I know to download to my computer

• Questions to frame presentation:
• How did you achieved project objectives (review prj. descriptions to assist)
• What did you learn about the communication process?
• What is your dialetic?

• 15 minutes total presentation (leave approx. 5 minutes for crit feedback).

Turn in physical artifact for evaluation:
• Printed postcards
• Printed annotated model (or if digital, post the link to blogs)
• Process document pages (PRINTED as final document)

Post to blogs for evaluation:
• Any additional process work & final presentation statement.

Late = absent = late grade reduction.

schedule to end of term

11/24: progress crit
DEEPER iterationS of annotated com. model (as "graphic design")

Several "proposed" directions for annotating it visually & verbally. How are the annotations revealed? How is the base model differentiated from your commentary? What form does this take (print, 3d, screen, interactive, narrative)? Be creative! Be thorough! Educate and engage the viewer.

Select the best 3-5 for discussion and post remainder on your blogs.

12/1: progress final class crit
com. model
AND refined process doc. pages

12/5: final crit turn in for grading
com. model & process doc. pages

12/8: FINAL REVIEW

Friday's crit with Kathy

Partners: provide a quick overview of your postcards/dialectic. Approximately 1 minute per set.

Individuals: present your concepts and visual proposals for the communication model and annotations. 3-4 minutes total.

Everyone will have 8 minutes. So craft a concise yet revealing presentation, then allow 3-4 minutes for Q&A.

Pin-up all work on the walls before start of class. Thanks!

manual process

Here's an example of a large-scale paper prototype for an information graphic.

prj cm: annotated communication model

To conclude this project, you are to produce a clear & detailed infographic that visualizes your understanding of communication model theories, and illustrates your specific project dialog. Postcards = means. Annotated model = end.

Design a diagram that maps all parts of the Berlo or Emmert communication model. Can be print or simple motion. Non/Linear.

for progress crit next class (and see below):
(1) Several "proposed" visual explorations/directions of the "base model". Select the best 3-5 for discussion and post the remainder on your blogs.

Produce a broad range of iterations and push each design to be completely different from the others. Big moves. This is your visual p.o.v., not a simple recreation of the provided examples. All content must be represented, and go into further detail than the provided examples.

***

For each postcard phase, annotate the model with supporting visuals (e.g. progress/final postcards) and written remarks (e.g. edited/selected from your blog posts). Relate the reading's explanation of the models to your own project. Relate the postcard objectives (my posts) & your results to the model.

Note: The conversation visualized is the 3 postcards surrounding your original object.

start for progress crit next class and conclude for crit next week:
(2) Several "proposed" directions for annotating it visually & verbally. How are the annotations revealed? How is the base model differentiated from your commentary? What form does this take (print, 3d, screen, interactive, narrative)? Be creative! Be thorough! Educate and engage the viewer.

Select the best 3-5 for discussion and post remainder on your blogs.

prj cm: reading 3

This reading further clarifies noise. Integrate what you glean from it in your communication model.

Note: the terminology and concepts in ALL three assigned readings must be addressed in your blog feedback and must be incorporated and clarified within the communication model. Re-read all! A rich and successful communication model will be based off of your knowledge of the subject matter, and not your assumptions.

Prj CM.3: Context postcard

When the output (or "products") function along side (or interrelates with) other products it forms a system. Now, as the sender (again), you are to visualize the system.

Research:
Add additional knowledge to the dialog (and find supporting evidence for your argument) by conducting outside research. This doesn't have to be in-depth research, but just enough to narrow the scope and frame the dialetic by placing the PRODUCT in one of the following contextual systems: social/cultural, historical, technical, or environmental.

For example, I found out there are both pros and cons to birdhouses & bird feeders. With either argument I can place this "product" in a greater economical or ecological system.

Post a summation of this research (and sources) to your blogs.

Answering the following questions will help define your conversation:
• What is the impact/relationship to other products?
• What is ONE argument (from a social, historical, technical or environmental point of view) that can be made about the object?
• What are the ramifications or benefits of this system?
• How could that engage in a dialectic based on the second postcard?

Parameters:
Add imagery AND text. Embellish and incorporate your partners imagery so that it is apparent that this an ongoing conversation and that the 3 postcards function as a cohesive series.

Deliverables due next class:
Produce a wide range of explorations & iterations. Post all to process blog. Select & print those with the most potential as "proposed" directions (that's plural).

After class crit you will refine if necessary, print one card and post the final digital card (no explanation) to your blog (post title "postcard 3: context").

Reading 2: again

Re-read last classes reading in order to help inform your blog commentary. Be specific and address components of the model in your feedback.

11/21 with Kathy McCoy

Think about what project you want to show Kathy. What question do you want to ask her?

Hal Wert Lecture

Wednesday 10:40-11:40, Futura.

Hal is going to present his collection of WWII posters.

Bring a lunch or pre-arrange with Terri for a box lunch (TODAY).

Attendance is required.

triangle

This info pertains only to Vahn, Sam, Bryan since you are a group of three.

Postcard 1:
Bryan talks about Typewriter
Sam talks about Pez
Vahn talks about Lantern

Feedback 1:
Bryan interprets Lantern
Sam interprets Typewriter
Vahn interprets Pez

Postcard 2:
Bryan continues Lantern conversation
Sam continues Typewriter conversation
Vahn continues Pez conversation

Feedback 2:
Bryan interprets Typewriter
Sam interprets Pez
Vahn interprets Lantern

Postcard 3:
Bryan continues Typewriter conversation
Sam continues Pez conversation
Vahn continues Lantern conversation

Feedback 3:
Bryan interprets Lantern
Sam interprets Typewriter
Vahn interprets Pez

Prj CM.2: Output postcard

In classical philosophy, dialectic is controversy: the exchange of arguments and counter-arguments... The outcome of the exercise might not simply be the refutation of one of the relevant points of view, but a synthesis or combination of the opposing assertions... [In a dialectical dialogue] the participants share at least some meanings and principles of valid inference, even if they do not agree. source

This project models a conversation between two communicators. The statement started by one will be expanded by the other. More specifically, the assets generated by one will be used/incorporated in the other's visual response.

First, provide each other with the high res file (and in later phases, the raw layered file) of your postcard.

Now you are the sender. Advocate or subvert the original statement. Strengthen it with your own visual p.o.v. and supporting evidence by placing the object in context to other related components.

When the object (or "component") functions along side (or interrelates with) other components it produces something (i.e. it makes a "product"). You are to visualize the output of the object.

For example, the nail "component" plus other like components (hammer, wood) produces the birdhouse "product". Thus, I counter the original argument with a positive rebuttal stating that building birdhouses is a fond childhood memory.

Answer the following questions: What physical thing, condition or event could this object help produce? How could that engage in a dialectic based on the first postcard?

Parameters:
You are to add to and embellish the original work (with additional imagery, objects, mark making, etc, but no text). You must incorporate the original photo.

Deliverables due next class:
Produce a wide range of explorations & iterations. Post all to process blog. Select & print those with the most potential as "proposed" directions (that's plural).

After class crit you will refine if necessary, print one card and post the final digital card (no explanation) to your blog (post title "postcard 2: output").

prj cm: feedback

Every message that has an intended receiver is interpreted, and to what effect? Provide your assigned partner the following feedback:

receiver:
interpret your partner's message and provide them with feedback. Write a clear and articulate response and post in the comments section of your partner's blog post, using the following questions as a guide:

• Is the object rendered in a positive or negative tone? Describe more specifically (e.g. comedic vs playful)

• How did the aesthetic choices (such as cropping, lighting, orientation, color, media, level of abstraction, style, etc) guide your understanding?

•Based on the reading, what categories of transmission were used to send this message?

•Also based on the reading, (how) did noise affect your interpretation of the image?

example post

sender:
after your partner (the receiver) has commented, reflect and respond. Was their interpretation in/correct? Clarify your intentions.

Blog Requirements:
The dialogue that starts w/the sender resides on sender's blog for entire project. Each post contains the sender's postcard (as a post), the receivers interpretation/reflection (as a comment or post) and the sender's intent/reflection (as a comment). Complete online feedback during class.

Partners:
bryan/vahn/sam
kristy/tim
emily/rebecca
angie/grant
adam/chris

prj cm: reading 2 - communication models

download PDF.

prj cm: reading 1

Read "This means This..." pages 19-32 and post your reflection to the comments of this post. Find the photocopied reading on Tyler's reserve shelf in the library.

Prj CM.1: Object postcard

You are to communicate your object (from the semiotics project) in a positive or negative tone.

For example, if my object is a "nail", I could position it as a dangerous predator.

Explore framing, lighting, focus, any image making/rendering styles (e.g. photo, illustration, collage, scratchboard, etc) to communicate your p.o.v. and editorialize the image.

Here are some examples. Post and describe examples you find elsewhere to your own blogs.

Parameters:
Create an image that is communicative, resonating and creative within the set of given parameters. It must be rendered as a single object only and can not incorporate text, symbols or additional objects. For print (5x7 inches, 300 dpi, CMYK) AND for screen (550x393 pixels, 72 dpi, RGB).

Deliverables for next class:
Produce a wide range of explorations & iterations. Post all as linear process and a selection of cards to print.

After class crit you will print one card and post the final digital card (no explanation) to your blog (post title "postcard 1: object").

Prj Communication Models: overview

What we say and what is heard depends on a range of factors (from technology obstructions to cultural encoding). As designers we must develop a high sensitivity to the messages we create and the way in which these messages are received by the intended audience, so we can adapt the conversation accordingly.

This project will explore theories about how the communications process works as well as apply and test out that process through peer-to-peer "visual conversations". You'll design three rounds of messages that will be sent, received, interpreted, and responded-to for feedback.

Over the course of this project each student will produce:

1. three postcards
2. thorough & constructive written feedback on your blogs
3. a clear & detailed infographic that visualizes your understanding of the communication model/theory and elucidates the project's phases
4. process documentation

Objectives:

1. visually craft messages and responses (as practical application of communication theory)
2. conduct real-time dialogue about your intentions and interpretations
3. visualize your understanding of and document your experience of communication models/theories
4. professionally documented project stages, improved layout, writing and treatment of content

Each project phase increases in complexity. You will start with limited channels and a singular message that will subsequently build into a more layered conversation.



what's due:
day 2: postcard 1 iterations, inclass feedback, process document
day 3: postcard 2 iterations, inclass feedback
day 4: postcard 3 iterations, inclass feedback
day 5-6: annotated communication model (iterations)
day 7: final crit, process document

*V*O*T*E*

prj cm: reading 1

Read "This means This..." pages 19-32 and post your reflection to the comments of this post. Find the photocopied reading on Tyler's reserve shelf in the library.

expectations for final crit

1. You'll have 3 minutes to present with 5 minutes allotted for class critique. Thoughtfully set up the crit with a prepared statement. Post statements to your blog for evaluation. You should cover the following:

• Explain how your formal approach supports your conceptual direction.

• Note how you achieved project objectives (review the initial prj. description to assist)

• State what rhetorical trope(s) you employed and describe WHY/HOW your work falls into that category.
This is included in your process document pages too.

2. Your posters must be pinned-up in the classroom before the start of class. Any work being pinned up late, or any student arriving late, will not have their work addressed in crit, marked absent and a late grade reduction will apply.

Upload a PDF of your two posters to your server space and post a link to your blog for evaluation (due at start of class or marked late).

3. Upload a PDF of your project documentation to your server space and post a link to your blog for evaluation (due at start of class or marked late).

Note: this is the first proposal (e.g. first draft) for the visual design of your book and will be evaluated as such, but your pages should include all required content and propose the design of typography, layout and a presentation of work as a cohesive system. You only need to show the pages for rhetoric (not the future projects).

4. All additional process that was not included in your prj. document but is valuable in articulating your thinking/form making process should be posted to your blog for evaluation.

due next class

1. MORE ITERATIONS FOR EACH. Post all to blog.

2. Then select and refine the final two. Produce as near-final posters. Near final means, you could turn it in if you had to. Must be printed to size, in color, in template for desk crit (plus, I'll look at any other options on the blog).

Be sure the template includes the third line of text (name, location, contact).

3. Post to your blogs the rhetorical tropes being used, and how.

JR/SR critique

Since both studios are working on this project this is an opportunity to gain new perspectives and engage in cross-studio interaction you don't typically get.

directions:
Contact your group member to arrange a crit (group assignments via email). After the meeting post a brief summation/synthesis of the feedback you received to your blogs.

Complete this task within 1 weeks period for participation eval. Consider and implement necessary changes prior to final crit (& prior to submission to the AIGA exhibit).

These questions are provided to help facilitate the discussion:
• Ask them to identify the tropes employed (& prior to you telling them what your intentions were).

• What graphic devices and/or text successfully supports the reading of the trope (e.g. it is obvious as a hyperbole)? What ones confuse/alter the trope (e.g. can't tell if it is a pun or not)?

• Is the message specific to the demographic? What specific visuals and/or text assist this? What ones confuse/distract? Is your message sensitive? Is it resonating?

• Is the message a clear call to action to vote? What's assisting this? What's hindering?

• Is your formal/stylistic approach appropriate to content and audience? How so?

• Describe the relationship of text to image. Does one reinforce the other? Negate it? Contain a separate message? or something else?

• Is the main copy engaging (an attention getter)? Is the secondary copy clarifying (the call to action, vs. a "so what")?

terminology test

A test will be given on Friday. The terminology is based off of Meggs reading and class lecture.

step 3: execution and refinement (1 week)

due 10/10:
10 compositional iterations for the select directions. Digitally explore various approaches & slight alterations upon layout, typography, hierarchy, etc, at full size in the template. From here select the 2 most successful compositions for final refinement.

due 10/13:
2 near-final posters for desk crit. Print to scale in color for review. From here implement changes based on instructor and peer feedback.

due 10/17:
2 final posters pinned up for crit, process posted on blogs, AND project documentation pages printed and turned in for grading.

formal exploration and concept refinement

Once you have selected three or four ideas for further development, work on the details of those ideas. Do more iterations. Do you need to try different tropes with them? Do you need to change point of view? Refine Refine Refine.

Begin at least six form-making tests/studies for how you'll actually produce your poster. Include off-computer image production methods. How do the tools and process relate to your subject matter or audience? Can you make more meaning through your media choice? Does your group appreciate illustration over photography?

These formal studies function somewhat independent of the conceptual approach, and you can mix and match as you see fit for your final solutions.

project steps

due 9/26:
5 audience research responses with visual examples. From here brainstorm rhetorical trope and sign pairings.

due 9/29:
mind map and matrix (40+ thumbs). From here select 3-4 viable concepts (each a different trope) for further formal exploration

due 10/3:
15+ clear pencil sketches proposing possible visual translations for the selected concepts. Sketches should be appox. 1/4 size. Plus, include copy writing. From here you will select 3-4 possible directions for further development.

due 10/6:
propose & produce 6 form-making approaches (a.k.a. "tests") for the above selected directions. Must be off-computer image production methods. From here you will determine 2+ directions with the most potential for execution.

rhetoric definitions & McCoy reading

1.
Review this second source on rhetoric. The examples and captions are the most helpful to recognize the various visual/verbal relationships that are possible. There are more terms here than our "ten" and some are named differently, which goes to show that our examples are not the limits of rhetoric.

Rhetoric, Bonsepie (PDF)

2.
Read Good Citizenship, Kathy McCoy, pgs 1-2 of the PDF (same as pgs 2-4 from the book Citizen Designer, on Tyler's reserve shelf in the library.)

Reflect upon your own role in civic engagement in relation to: this project; the specific skill-set of the profession; AIGA's competition goal to "demonstrate the power of design in the public arena"; and/or any greater goals you have as a designer. Post your responses to the comments.

Find+share: Examples of voting campaigns

Here's a cursory look at historic and contemporary vote posters in the US and abroad.

Nichelle Narcisi's concepte "Except You" was the winner at last year's Command X competition (at AIGA's Next Conference in Denver). Aimed at getting the 18-24-year-old vote out in 2008 her concept

"was an absolute triumph--literally bringing much of the audience (and two judges) to tears. She got a standing-O after she presented it, and another after being crowned the winner." (via Core 77)

Find your own example online and share the link with the class. Post during this project. Set up your post with a brief descriptor and use the following HTML tag:

<a href="URL of the Web page to go to">text that will be the link</a>

Prj Rhetoric: map > matrix

1. map
Employ a lateral* and considered content selection process for your posters by initiating the ideation phase with mindmaps.

*Read Type and Image, Meggs, p 154-155.

After, classify these signs as icons, indexes or symbols. Then move to step 2...

2. matrix
Create an analog matrix for the following:
• 4-5 rows for rhetorical tropes (your choice)
• 3 columns (1 each for icon, index, & symbol)
• 1 additional column for copy (text as symbol)

Explore the matrix via both text and image.

Think through the matrix in phrases and write phases in the matrix.

Select signs from the map that have the greatest potential for further concept development and pair each with a trope.

Iterate several hand-generated thumbnails for each segment. Total matrix = 40+ thumbs.
At a minimum, complete 2/3 by next class. See side bar for due date -->

Reminder: Professionally document all interim process. Both for ongoing blog evaluation, and for your project documentation book.

rhetorical devices

download lecture PDF here

FIND+SHARE
Find your own example online and share the link with the class. A few places to look: fffound, behance, design archives.

Post once this project. Set up your post with a brief descriptor and use the following HTML tag:

<a href="URL of the Web page to go to">text that will be the link</a>

Signs [recap]

Semiotics is the study of signs and helps to explain how meaning is constructed and understood. There is a lot more to semiotics, but at a basic level, the theory breaks the classification of "signs" into three parts that is useful for visual communication:

ICON = representation, is recognizable (e.g. photo, statue, map)
INDEX = an indicator, can be figured out (e.g. smoke means fire)
SYMBOL = arbitrary, must be learned (e.g. flags, words, some logos)

This is an icon of a 19th c. women's shoe.













Symptoms are an index of sickness.













Hebrew is a learned/cultural symbol.













Signs are not mutually exclusive. This photo is an icon of a man. His uniform is an index of military service. The medals he wears are symbolic of his rank.

images from NY Public Library Digital Gallery

Get out the Vote

Part of being involved in this project is the opportunity to exhibit your posters along side local area designers and students and to take your message directly to the people of Kansas City through AIGA's Get Out the Vote 2008 campaign.

1.
Posters will hang at AIGA:KC's Get Out the Vote Poster Exhibit & Reception. Tuesday October 21st 6:00pm. Downtown library. All are invited to attend the reception.

2.
On Saturday October 25th, volunteers will hang posters on the streets of KC for this year's Poster Hanging Event. *If you're interested in volunteering for this event, talk to any AIGA officer for more info.

Required: Submit one of your posters for these events. Print THREE (1 for the exhibit, 2 for the streets). Make any improvements to posters based upon final crit.

Section 02: submit your printed posters to me by 4pm Fri. 10/17.
Section 01: tba

If you are an AIGA member, you can still contribute your own designs online.

rhetoric definitions

Type + Image, Meggs, p30-40 (on Tyler's reserve shelf)
Reading provides clear definitions & examples of the rhetorical devices you will explore throughout this project. Read and study the terms thoroughly (Flash cards could be helpful). You are expected to properly employ the language during class critiques and for tests.

audience

Read pages 3-5 from the AIGA design brief about voting demographics. Select one demographic to target your message.

Conduct additional research on your voting demographic in order to become more familiar with your audience’s needs and goals.



Post your responses to the following questions:
1. What are some predominately shared values? (broadly in life, not politics)

2. What political policies/issues are particularly important to this demographic in this election? why?

3. Are there any cultural references your demographic identifies with? what?

4. What does their graphic landscape look like? (This is sometimes called a "visual audit")

5. Including the AIGA document and other sources, what are the issues cited for this group not voting?

Include links to your research sources, including statistics and visual examples, that support your conclusions. Posts due to YOUR blogs next class. Email me your blog URL so I can review your responses.

Find+Share

A new Charlie Kaufman film is coming out titled... Synecdoche, New York.

Post if you've found any rhetorical moments in the world to share.

rhetoric project: intro

Rhetoric is the art of effective or persuasive speaking or writing (ahem... saying something in a new way). Rhetorical figures offer a departure from normal usage by changing the meaning or application of words [AND visual form-making] for greater persuasion, impact & resonance.

For this project you will explore and then craft various rhetorical figures for the purpose of visually communicating a clear "call-to-action": to encourage voter registration and voter turn-out.

The rhetorical figures should illuminate and describe various qualities/purposes of voting in the 2008 election. 10 figures to explore:

irony, pun, parody, metonymy, metaphor, allegory, hyperbole, personification, antithesis, synecdoche

objectives:
• communicate a message to a specific audience
• author content through image making and copy writing
• explain what rhetoric is, its visual/verbal relationship, and its implications for graphic design
• use rhetorical figures appropriately and creatively in the generation of new design work
• employ refined image making, composition and typographic sensibilities
• engage in the specified design process from ideation to execution

parameters:
• open media (must explore off-computer image creation methods)
• for specifications read pages 1-2 of the AIGA design brief and use the provided .ai template.

see side bar for project deadline & final crit date -->

Process a.k.a. deliberate practice, a.k.a...

Successful design solutions are arrived at through a diligent and exploratory process that is both public and flexible.

Mantra: Design takes practice. Process is apparent.

I require that you maintain a process blog this semester. You can use last semester's. Use ONE blog for all studios that require it.

what goes in?
Process work should articulate your conceptual thinking and reveal your progress outside the classroom to me. It is a digital archive and visual proof of your progress, learning and growth as a designer.

Include sketches & early versions (opt shft 4 is handy), research & collected visual inspiration, written clarification & reflections and other materials that directly impacted the outcome of your work. Laura makes a good case study.

evaluation
This will be evaluated for thoroughness and quality (not sheer quantity) of content. Note: I'll review blogs for a random selection of students weekly between mid-project and final crit, meaning each student will get evaluated once or twice per project.

reading & reflection:
Secrets of greatness
What 50 pounds of clay can teach you about design

Read the two articles above. Then consider your own process (vs. your perception of process). What's working, what's not? Where does it happen (vs. where could it benefit from happening)?

Set some process-oriented goals for the semester. Post a summary of this reflection time and your goals in the comments section.

ongoing project: project documentation

about the blog

1
All project descriptions, objectives, specifications and deadlines will be posted here. It is your responsibility to check regularly for important updates, new assignments and topical references.

2
I intend the blog to function as an ongoing dialog and extension beyond the classroom. If you have project-specific questions that arise outside of class please ask. Everyone is welcome to reply and I will respond on/before online hours or in class.

3
Required readings and discussion topics are provided to clarify and expand your knowledge of issues addressed in studio and design in general. Post your thoughtful and brief responses to the comments. I evaluate responses weekly.

4
Visual & creative inspiration abounds online and I encourage you to embark upon serendipitous or purposeful surfing. Once you find something share-worthy post it to "find+share".

5
Occasionally I will assign an online crit in order to provide an alternative forum for classroom feedback and collaborative effort.

If those reasons aren't enough to get involved, remember, your online presence does count toward your online participation grade. I evaluate post quality and quantity.

About this course

The course focuses on meaning and representation in visual and verbal language as a means to expand and clarify the visual communications process. A series of investigations will explore the relation of communication models, semiotics, rhetorical devices and modes of appeal to the field of graphic design and lead to practical implementation.

While these theories might sound unfamiliar, often designers practice them intuitively. This course aims to provide you with the vocabulary and comprehension to employ & exploit these approaches with deliberate purpose and success.

This course is co-taught by Jamie Gray and Carrie Kish. See the side bar "split schedule" for clarification of when which section is taught by which instructor.