Projects

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Lunar / Luísa Silva Gomes / p6.4 Design ii 2016

P6.4: Design da marca—manual de identidade

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TEMÁTICA

Design de marcas

OBJECTIVOS

Explorar as dimensões formais e conceptuais do manual de identidade como repositório e dispositivo comunicacional das directrizes e do carácter da marca.

Agregar todo o trabalho produzido nesta sequência de propostas de trabalho num objeto/artefacto gráfico.

METODOLOGIA

O referido manual deverá ser constituído, no mínimo, por três secções:

  1. carácter e codificação da marca,
  2. estacionário,
  3. branding.

O manual deverá ser adequada e rigorosamente paginado e encadernado, tendo atenção às características formais e conceptuais da marca, o seu manuseamento e consulta. O manual deverá ser encarado como um objeto integrado em toda a estratégia de branding e apresentar um tom comunicacional de acordo com as características intrínsecas da marca.
O trabalho deverá ser realizado individualmente.

Formatos

Para fins de referência e arquivo, deverá ser enviada por email uma versão digital em formato PDF identificada com Nome-Apelido.pdf, acompanhada de uma memória descritiva explicativa do trabalho com aproximadamente 150 palavras (Nome-Apelido-memo.pdf).

Datas Importantes

Última aula formal do período lectivo 25/05/2017
Apresentação: 12.06.2017, 10:00 PDF: 11.06.2017, 21:00

Avaliação

Valor/exploração conceptual, Research, Branding Strategy: 25%. Execução e Produção: 25%. Design e paginação: 25%. Qualidade dos conteúdos e brand guidelines: 25%.

(english version)

P6.4: Brand design—Brand book

Thematic

Brand design

Aims

To explore the formal and conceptual dimensions of the Brand book as a repository and communication device of the brand ethos, guidelines and standards.

To compile the work previously produced in a graphic artifact.

Methodology

The brand book should be comprised of, at least, three sections:

  1. brand codification and ethos,
  2. stationery,
  3. branding.

The brand book should be rigorously designed and bound, taking into account the formal and conceptual characteristics of the brand, and its handling and usage. The brand book should be regarded as an integrated part of the brand strategy and bear a tone of voice that is native to the brand ethos.

The project should be developed individually.

Formats

A digital pdf version of your final file identified as Name-Surname.pdf, and the rationale of the proposals supported in a short written memo of approximately 150 words, should be sent by email to be archived.

Important dates

Last formal class of the semester 25/05/2017
Presentation: 12.06.2017, 10:00 PDF: 11.06.2017, 21:00

Evaluation

Value/conceptual exploration, Research, Branding Strategy: 25%. Execution and Production: 25%. Design and layout: 25%. Content and brand guidelines quality: 25%.

Bib

“Christopher Doyle Identity Guidelines.” DII. Christopher Doyle, 14 Mar. 2013. Web. 24 May 2016. <https://designii.wordpress.com/2013/03/14/christopher-doyle-identity-guidelines/>.

“The Corporate Identity Manual.” The Corporate Identity Style Guide. Logo Orange Design Studio, Nov. 2008. Web. 24 May 2016. <http://www.logoorange.com/corporate-identity-manual-brand-style-guide.php>.

“Edward Tufte Forum: Corporate Design Manuals.” Edward Tufte Forum: Corporate Design Manuals. Edward Tufte, n.d. Web. 24 May 2016. <http://www.edwardtufte.com/bboard/q-and-a-fetch-msg?msg_id=0000IE>.

“Identityworks Tools – Guidelines And Standards Manuals / 6.4.” DII. Identityworks, 27 May 2014. Web. 24 May 2016. <https://designii.wordpress.com/2014/05/27/identityworks-tools-guidelines-and-standards-manuals-6-4/>.

“Let’s Ditch the Brand Guidelines.” D&AD. D&AD, n.d. Web. 25 May 2016. <http://www.dandad.org/en/d-ad-brand-guideline-tips/>.

Millman, Debbie. Brand Bible: The Complete Guide to Building, Designing, and Sustaining Brands. Beverly, MA: Rockport, 2012. Print.

Oehmen, Tisha. “Brand Book vs Brand Guidelines vs Brand Bible |Finding Brand.” Paradux Media Group. Paradux Media Group, 17 Aug. 2011. Web. 24 May 2016. <http://paraduxmedia.com/whats-the-difference-brand-book-brand-guidelines-brand-bible-and-identity-guidelines/>.

Neville, Kat. “Designing Style Guidelines For Brands And Websites – Smashing Magazine.” Smashing Magazine. Smashing Magazine, 20 July 2010. Web. 25 May 2016. <https://www.smashingmagazine.com/2010/07/designing-style-guidelines-for-brands-and-websites/>.

Olins, Wally. Wally Olins: The Brand Handbook. London: Thames & Hudson, 2008. Print.

Stewart, Craig. “13 Magically Meticulous Design Style Guides.” Creative Bloq. Creative Blog, Apr. 2016. Web. 24 May 2016. <http://www.creativebloq.com/branding/great-examples-design-style-guides-3132070>.

Wheeler, Alina. Designing Brand Identity: A Complete Guide to Creating, Building, and Maintaining Strong Brands. Hoboken, NJ: John Wiley, 2003. Print.





Adv_Book_3

P6.3: Design da marca / Branding (activação da marca)

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Temática

Design de marcas

Objectivos

Explorar as diversas dimensões formais e conceptuais da marca desenvolvida nas propostas de trabalho anteriores através da criação e aplicação a suportes específicos que a promovam.

Explorar a relação da marca com o som, o tempo, o espaço e o público.

Metodologia

Deverá ser desenvolvida uma estratégia criativa de comunicação compreendendo diversos suportes e aplicações adequadas ao carácter conceptual da marca criada previamente.
Esses suportes e aplicações deverão ser ponderados mediante o contexto da entidade selecionada e devidamente inseridos numa campanha promocional coerente e consistente.

Esta é uma proposta de trabalho aberta cujo sucesso será determinado, entre outros aspectos, pela pertinência dos suportes e aplicações e pela capacidade exploratória demonstrada sob um ponto de vista quantitativo e qualitativo.

Neste sentido, são sugeridos alguns suportes e aplicações, no entanto, outras opções totalmente diferentes, mas pertinentes para a estratégia criada, poderão ser pensadas e desenvolvidas:

  1. Cartazes, mupis, outdoors, flyers
  2. Slogans, taglines
  3. Marca sonora / audio branding, jingle
  4. Marca animada, spots publicitários, outro material audiovisual
  5. Marca dinâmica, aplicações interativas
  6. Instalações, happenings, performances, Guerrilla marketing
  7. Outras relações da marca com o espaço, marca tridimensional
  8. Outros…

O trabalho deverá ser realizado em grupos de 3 a 4 elementos.

Formatos

Para fins de referência e arquivo, deverá ser entregue uma versão digital em formato PDF identificada com Nome-Apelido.pdf

Todos os vídeos produzidos deverão ser disponibilizados sob a forma de um link para uma plataforma online de publicação videográfica. O resto do material de cariz dinâmico não listado deverá ser entregue em suporte adequado.

Deverá ser entregue uma memória descritiva explicativa do trabalho com aproximadamente 150 palavras, em formato PDF.

Datas Importantes

Apresentação: 04/05/2017, 9:00 PDF: 03/05/2017, 23:00

Avaliação

Valor/exploração conceptual, Research, Branding Strategy: 25%. Execução e Produção, dinâmica de grupo: 25%. Variedade e adequação dos suportes ao contexto: 25%. Apresentação do projecto:25%.

(english version)

P6.3: Branding (brand activation)

Thematic

Brand Design

Aims

To explore the formal and conceptual dimensions of the previously developed brand through the creation and application to specific media that promote it.

To explore the relationship of the brand with sound, time, space and the public/audience.

Methodology

You should develop a creative communication strategy comprising several media and applications, appropriate to the concept of the brand previously created.
These media and correspondent applications should be weighted by the context of the selected entity and be part of a coherent and consistent promotional campaign.

This is an open work proposal whose success will be determined, among other aspects, by the relevance of media and applications chosen and for the exploratory capacity demonstrated from a quantitative and qualitative point of view.

In this sense, some media and applications are suggested, however, other options, different but pertinent to the established strategy, can be designed and developed:

  1. Posters, mupis, outdoors, flyers
  2. Slogans, taglines
  3. Audio branding, jingle
  4. Animated brand, tv-spots, other audiovisual materials
  5. Dynamic brands, interactive applications
  6. Installations, happenings, performances, guerrilla marketing
  7. Other spatial relationships, Tridimensional or sculptural brands
  8. Others…

The proposal should be developed in teams of up to 4 elements.

Formats

A digital pdf version of your final file identified as team’s Names-Surnames.pdf, and the rationale of the proposals supported in a short written memo of approximately 150 words, should be sent by email to be archived.

All video material should be delivered as a link to an online publication of the piece. Other materials should be delivered in archival media appropriate to its nature.

Important dates

Presentation: 04/05/2017, 9:00 PDF: 03/05/2017, 23:00

Evaluation

Value/conceptual exploration, Research, Branding Strategy: 25%. Execution and Production, team dynamic: 25%. Multiplicity and appropriateness of the media to the context: 25%. Project presentation: 25%.





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Lunar Industries / Gustavo Seguro / p6.2 design ii 2015

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P6.2: Design da marca—estacionário

TEMÁTICA

Design de marcas

OBJECTIVOS

Entender e testar o funcionamento da marca na vertente de comunicação interna e externa de uma organização e nas aplicações correspondentes.

Explorar as diversas dimensões formais e conceptuais da marca desenvolvida nas propostas de trabalho anteriores através da aplicação e criação de suportes específicos (touch points) que a promovam.

METODOLOGIA

Deverão ser elaborados o estacionário e outros suportes adequados ao carácter conceptual da marca previamente criada.

A produção dos suportes deverá ser ponderada mediante o contexto da entidade selecionada, promovendo os conceitos e aspectos formais da sua nova marca. São sugeridos os seguintes suportes:

  1. Estacionário
    1. Papel de Carta, Continuação de Carta
    2. Cartão de Visita 85x55mm
    3. Cartão A5 210×148.5mm ou Convite
    4. Envelopes E5-6 110x220mm (com e sem janela), C4 229x324mm, etc.
    5. Faturação
    6. Company Badges
    7. CDs, DVDs, Pins etc.
    8. outros elementos a propor de acordo com o carácter da marca desenvolvida.

O trabalho deverá ser realizado individualmente.

FORMATOS

Para efeitos de apresentação e sempre que possível, deverão ser produzidas maquetes dos suportes desenvolvidos à escala 1:1.
Para fins de referência e arquivo, deverá ser entregue uma versão digital em formato PDF identificada com Nome-Apelido.pdf
Deverá também ser acompanhado por uma breve memória descritiva explicativa do trabalho com aproximadamente 150 palavras.

Datas Importantes

Apresentação: 27/03/2017 30/03/2017, 9:30 PDF: 26/03/2017 29/03/2017, 21:00

Avaliação

Valor/exploração conceptual e adaptação ao contexto: 30%; Execução e Produção das maquetes: 40%; Design, variedade de suportes e conteúdos: 30%.

(in english)

P6.2: Brand design—Stationery

Thematic

Brand design

Aims

To understand and test the functioning of the brand in the internal and external communication aspects of an organization and its corresponding applications.

To explore the various formal and conceptual dimensions of the brand developed in the previous work proposals through the application and development of specific media (touch points) that promote it.

Methodology

You should develop stationery and other media suitable for the concept of your brand.

The production of the several media should be weighted by the selected entity context, promoting the concepts and formal aspects of its new brand. The following are suggested:

  1. Stationery
    1. Letterhead, letterhead second sheet
    2. Business card 85x55mm
    3. A5 210×148.5mm Thank you card and/or Invitation
    4. Envelopes E5-6 110x220mm (with and without window), C4 229x324mm, etc.
    5. Invoicing
    6. Company Badges
    7. CDs, DVDs, Pins etc.
    8. other elements that you can propose according to the caracter of your entity.

The project should be developed individually.

Formats

For the presentation and whenever possible, mock-ups should be produced and developed at 1:1 scale.

A digital pdf version of your final file identified as Name-Surname.pdf, and the rationale of the proposals supported in a short written memo of approximately 150 words, should be sent by email to be archived.

Important Dates

Presentation:  27/03/2017 30/03/2017, 9:30 PDF: 26/03/2017 29/03/2017, 21:00

Evaluation

Value/conceptual exploration and context feasibility: 30%; Execution and mock-up production: 40%; Design, media diversity and content: 30%.

Bib

(read this first)

Wheeler, Alina- “Designing Identity & Creating Touchpoints, Design basics” in Designing Brand Identity: An Essential Guide for the Whole Branding Team. https://designii.wordpress.com/2013/04/02/creating-touchpoints-design-basics-alina-wheeler/

Wheeler 2009:142-149 https://www.dropbox.com/s/jfuvn5b1bd6530w/wheeler-touch-points.zip?dl=0

——

(resources)

Designers Toolbox design resources http://designerstoolbox.com
Arctic Paper https://designii.wordpress.com/2015/03/19/arctic-paper-munken-etc/
Arjowiggins https://designii.wordpress.com/2015/03/19/arjowiggins-creative-papers/
Stationery Overdose https://designii.wordpress.com/2015/03/16/stationery-overdose/
Envelopes http://envelopes.pt

——

Airey, David- Logo Design Love: A Guide to Creating Iconic Brand Identities. New Riders, 2009. ISBN 9780321660763. http://www.logodesignlove.com/images/books/Logo_Design_Love_free_chapter.pdf
Mollerup, Per- Marks of excellence: the history and taxonomy of trademarks. Phaïdon, 1999.
Neumeier, Marty- The brand gap: how to bridge the distance between business strategy and design : a whiteboard overview. New Riders, 2006. ISBN 9780321348104. https://dl.dropbox.com/u/691178/the_brand_gap.zip
Olins, Wally- Wally Olins: The Brand Handbook. Thames & Hudson, 2008. ISBN 9780500514085.
Raposo, Daniel- Design de Identidade e Imagem Corporativa—Branding, história da marca, gestão de marca, identidade visual corporativa. Castelo Branco: Edições IPCB, 2008. ISBN 978-989-8196-07-1
Wheeler, Alina- Designing Brand Identity: An Essential Guide for the Whole Branding Team. John Wiley & Sons, 2009. ISBN 9780470401422.





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Tyrrel / Tânia Cunha / p6.1 design ii 2014

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P6.1: Design da marca—Codificação da marca

TEMÁTICA

Design de marcas, branding.

OBJECTIVOS

Entender os sistemas de codificação formal das marcas em relação à optimização da sua forma no sentido do seu bom funcionamento em múltiplos suportes e escalas.
Investigar os aspectos que contribuem para uma boa caraterização da marca, tendo em conta o seu contexto.

METODOLOGIA

A codificação da marca deverá ter em conta os seguintes aspectos (quando aplicáveis):

  1. Codificação formal ou construção da marca/assinatura
    1. A forma/desenho/símbolo/marca
    2. O texto/tipografia/logo/logótipo
    3. A assinatura ou articulação da marca = marca+logotipo+tagline. A codificação formal da articulação entre marca/símbolo, o logo e a tagline ou slogan, no que é conhecido como assinatura da marca (Wheeler 2009:50).
    4. Tipografia(s) secundária(s) e alternativas de substituição.
  2. Codificação cromática (versões mono e policromáticas)
    1. RGB
    2. CMYK
    3. PANTONE
    4. WEB HEX
    5. RAL
  3. Área de envolvimento ou protecção
  4. Dimensões mínimas (em positivo e negativo)
  5. Utilização incorrecta da marca ou assinatura
  6. Comportamento sobre fundos
    1. monocromáticos a P&B (gradações de cinza)
    2. de cor plana
    3. com gradações de cor e padrões
    4. de cariz fotográfico
  7. Simulação do comportamento da marca ou assinatura em contexto

O trabalho deverá ser realizado individualmente.

FORMATOS

O projecto, visto como uma componente importante do manual de identidade, deverá ser produzido constituindo uma publicação em formato A4 ao alto (A3 aberta).

Para fins de referência e arquivo, deverá ser entregue uma versão digital em formato PDF identificada com Nome-Apelido.pdf
Deverá também ser acompanhada por uma breve memória descritiva explicativa do trabalho com aproximadamente 150 palavras.

Datas Importantes

Apresentação: 9.03.2017, 9:00 PDF: 8.03.2017, 21:00

Avaliação

Valor conceptual, adaptação ao contexto, Research, Memo: 17.5%; Execução e Produção formal: 17.5%; Codificação formal e cromática: 17.5%; Comportamento da marca: 17.5%; Simulação do comportamento da marca em contexto: 12.5%; Tratamento formal e design do suporte de apresentação: 12.5%; Extras: 5%.

Mafalda-Remoaldo-aMafalda-Remoaldo-bMafalda-Remoaldo-cMafalda-Remoaldo-dMafalda-Remoaldo-eR.Holden & Sons / Mafalda Remoaldo / p6.1 Design ii 2014

(in english)

P6.1: Brand Design — Codification

Thematic

Brand design

Aims

To understand brands’ formal codifying systems relating to its optimization in multiple media contexts and scales.

To investigate the aspects that contribute to a good characterization of a brand, taking into account its context.

Methodology

Brand codification should take into account the following aspects (when applicable):

  1. Formal codification or Brand Signature construction
    1. The form/design/symbol/brand mark
    2. The text/typography/logo/logotype
    3. The Signature aka Brand Signature lock-up = Brand mark+logotype+tagline. The formal relationship(s) between the brandmark/symbol, the logotype, and the tagline or slogan in what is known as Brand signature (Wheeler 2009:50).
    4. The brand secondary typography(ies) and alternative substitutes.
  2. Chromatic codification (mono and polychromatic versions)
    1. RGB
    2. CMYK
    3. PANTONE
    4. WEB HEX
    5. RAL
  3. Clear space or brand protection
  4. Minimum size (printing and screen)
  5. Incorrect use of the brand or signature
  6. Brand behavior over backgrounds
    1. monochromatic B&W (grayscale)
    2. single continuous colors
    3. color gradients and patterns
    4. photographic
  7. Simulation of the brand or signature in context

The project should be developed individually.

FORMATS

This project, regarded as an important component of the brand book, should be produced as a publication in A4 DIN (portrait) format (folded A3).

A digital pdf version of your final file identified as Name-Surname.pdf, and the rationale of the proposals supported in a short written memo of approximately 150 words, should be sent by email to be archived.

Important dates

Presentation: 9.03.2017, 9:00 PDF: 8.03.2017, 21:00

Evaluation

Conceptual value, context feasibility, Research, Memo: 17.5%; Execution and formal production: 17.5%; Formal and Chromatic codification: 17.5%; Brand behavior: 17.5%; Simulation of the brand or signature in context: 12.5%; Posters design: 12.5%; Extras: 5%.

BIB

Airey, David. Logo Design Love: A Guide to Creating Iconic Brand Identities. New Riders, 2009. ISBN 9780321660763. http://www.logodesignlove.com/images/books/Logo_Design_Love_free_chapter.pdf
Neumeier, Marty. The brand gap: how to bridge the distance between business strategy and design : a whiteboard overview. New Riders, 2006. ISBN 9780321348104. https://dl.dropbox.com/u/691178/the_brand_gap.zip
Millman, Debbie. Brand Bible : the complete guide to building, designing, and sustaining brands. Beverly, Mass: Rockport Publishers, 2012. Print. ISBN 9781592537266
Mollerup, Per. Marks of excellence: the history and taxonomy of trademarks. Phaïdon, 1999.
Olins, Wally. Wally Olins: The Brand Handbook. Thames & Hudson, 2008. ISBN 9780500514085.
Wheeler, Alina. Designing Brand Identity: An Essential Guide for the Whole Branding Team. John Wiley & Sons, 2009. ISBN 9780470401422.





P6: Design da marca—anteprojeto

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Temática

Design de marcas

Objectivos

Capacitar o desenvolvimento duma proposta exploratória preliminar para uma marca em conjunto com o respectivo briefing.
Investigar sobre os aspectos que contribuem para uma boa caraterização da marca, tendo em conta o seu contexto.

Metodologia

Desenvolver por favor duas hipóteses da marca para uma das entidades sugeridas (em baixo).
O trabalho divide-se em várias fases:

  1. Briefing criativo, a ser realizado de acordo com a estrutura proposta por Terry Lee Stone em “Implementing Design…” 2010 (a explicitar em aula). Note-se que o briefing deverá ser um documento conciso, mas que não deverá descurar uma investigação mais aprofundada sobre a entidade e sua marca. Consultar também na bibliografia as outras referências ao briefing.
  2. Mapa mental
  3. Esboços
  4. Desenho da marca (não optimizada)
  5. Demonstração da marca em contexto

O trabalho deverá ser realizado individualmente, adoptando o processo de design explicitado em  From Pencil to PDF, capítulo 7 do Livro Logo Design Love de David Airey (link em Bib).

Formatos

O trabalho deverá ser apresentado impresso em formato A3 (orientação vertical), mediante os seguintes requerimentos:

  1. Versão policromática da marca—em positivo e negativo;
  2. Versão monocromática (P&B) da marca—em positivo e negativo;
  3. Simulação da marca em contexto.

Para fins de arquivo, deverá ser elaborada uma versão digital em formato PDF identificado com Nome-Apelido.pdf

Conteúdos:
Todos os elementos impressos, mais o briefing, uma relação de esboços, mapa mental e lógica das propostas desenvolvidas sustentada numa breve memória descritiva com aproximadamente 150 palavras.

Datas Importantes

Apresentação: 12/01/2017, 10:00 PDF: 11/01/2017, 21:00

Avaliação
Marca 1: 30‰. Marca 2: 30%. Briefing: 30%. Map, sketches & memo: 10%.

Bibliografia

A bibliografia referida para os projetos anteriores e as seguintes sugestões, sendo que outras fontes poderão ser apontadas ao longo do projecto:

Airey, David. Logo Design Love: A Guide to Creating Iconic Brand Identities. New Riders, 2009. ISBN 9780321660763. http://www.logodesignlove.com/images/books/Logo_Design_Love_free_chapter.pdf

Mollerup, Per. Marks of excellence: the history and taxonomy of trademarks. Phaïdon, 1999.

Neumeier, Marty. The brand gap: how to bridge the distance between business strategy and design : a whiteboard overview. New Riders, 2006. ISBN 9780321348104. https://dl.dropbox.com/u/691178/the_brand_gap.zip

Olins, Wally. Wally Olins: The Brand Handbook. Thames & Hudson, 2008. ISBN 9780500514085.

Wheeler, Alina. Designing Brand Identity: An Essential Guide for the Whole Branding Team. John Wiley & Sons, 2009. ISBN 9780470401422.

Sobre o briefing

Airey, David. “How Do You Write a Graphic Design Brief?” David Airey. David Airey, 10 May 2007. Web. 01 Dec. 2015.http://www.davidairey.com/how-do-you-write-a-graphic-design-brief/ .

Hayes, Sharon. “10 Tips for Writing Graphic Design Briefs.” David Airey. David Airey, 21 Apr. 2008. Web. 01 Dec. 2015.http://www.davidairey.com/10-tips-for-writing-graphic-design-briefs/ .

Roper, Claire. “What to Ask Your Client Before Creating Their Design Brief.” Design Instruct. Design Instruct, 18 Mar. 2013. Web. 01 Dec. 2015. http://designinstruct.com/articles/project-management/client-design-brief-questions/.

Wikipedia contributors. “Design brief.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 6 Nov. 2015. Web. 1 Dec. 2015.

As descrições das marcas foram citadas da seguinte referência (a excepção de R. Holden & Sons que escrevemos de acordo com o estilo da referêcia):

Kinnear, Simon. “50 Coolest Fictional Movie Companies.” GamesRadar+. GamesRadar+, 8 July 2013. Web. 01 Dec. 2015.http://www.gamesradar.com/50-coolest-fictional-movie-companies/ .

(in english)

P6: Brand Design – draft

Thematic

Brand design

Aims

To enable the development of a preliminary exploratory proposal for a brand together with its briefing.
To investigate the aspects that contribute to a good characterization of a brand, taking into account its context.

Methodology

Please develop two proposals for a brand to one of the suggested entities (below).
The work is divided into several phases:

  1. A Creative briefing, to be carried out according to the structure proposed by Terry Lee Stone in “Implementing Design” 2010 (to be provided as a lecture). Please note that the briefing should be concise, but that should not neglect a more thorough investigation of the entity and its brand. Please consult the bibliography other references to briefing.
  2. Mental map
  3. Drafts
  4. Non-optimized design
  5. A demonstration of the brand in context

The project should be developed individually. Regarding the design process to achieve a brand draft please take into account David Airey’s chapter seven From Pencil to PDF, from his book Logo Design Love (link in Bib.).

Formats

The work must be presented printed in A3 DIN (portrait) according to the following requirements:

  1. Polychromatic version of the brand in positive and negative;
  2. Monochromatic version of the brand in positive and negative;
  3. Simulation of the brand in context.

A digital pdf version of your final file identified as Name-Surname.pdf should be sent by email to be archived.

Contents:
All the printed elements, plus the briefing, a list of sketches, mental map and the rationale of the proposals supported in a short written memo of approximately 150 words.

Important Dates

Presentation: 12/01/2017, 10:00 PDF: 11/01/2017, 21:00
Evaluation
Brand 1: 30%. Brand 2: 30%. Briefing: 30%. Map, sketches & memo: 10%.

Bibliography

The bibliography referred to the previous projects and the following suggestions. Other sources can be indicated throughout the project:

Airey, David. Logo Design Love: A Guide to Creating Iconic Brand Identities. New Riders, 2009. ISBN 9780321660763. http://www.logodesignlove.com/images/books/Logo_Design_Love_free_chapter.pdf

Mollerup, Per. Marks of excellence: the history and taxonomy of trademarks. Phaïdon, 1999.

Neumeier, Marty. The brand gap: how to bridge the distance between business strategy and design : a whiteboard overview. New Riders, 2006. ISBN 9780321348104. https://dl.dropbox.com/u/691178/the_brand_gap.zip

Olins, Wally. Wally Olins: The Brand Handbook. Thames & Hudson, 2008. ISBN 9780500514085.

Wheeler, Alina. Designing Brand Identity: An Essential Guide for the Whole Branding Team. John Wiley & Sons, 2009. ISBN 9780470401422.

About the briefing

Airey, David. “How Do You Write a Graphic Design Brief?” David Airey. David Airey, 10 May 2007. Web. 01 Dec. 2015.http://www.davidairey.com/how-do-you-write-a-graphic-design-brief/ .

Hayes, Sharon. “10 Tips for Writing Graphic Design Briefs.” David Airey. David Airey, 21 Apr. 2008. Web. 01 Dec. 2015.http://www.davidairey.com/10-tips-for-writing-graphic-design-briefs/ .

Roper, Claire. “What to Ask Your Client Before Creating Their Design Brief.” Design Instruct. Design Instruct, 18 Mar. 2013. Web. 01 Dec. 2015. http://designinstruct.com/articles/project-management/client-design-brief-questions/.

Wikipedia contributors. “Design brief.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 6 Nov. 2015. Web. 1 Dec. 2015.

Brand’s descriptions were quoted from the following reference (except for R. Holden & Sons that we wrote according to the style of the reference):

Kinnear, Simon. “50 Coolest Fictional Movie Companies.” GamesRadar+. GamesRadar+, 8 July 2013. Web. 01 Dec. 2015.http://www.gamesradar.com/50-coolest-fictional-movie-companies/ .

Entidades/Entities

Spectacular Optical
The Company: Government-funded producers of the eponymous cable show in Videodrome (1983), a smorgasbord of hardcore sex’n’violence that is also secretly giving its audience hallucination-inducing brain tumours.

Why We’d Want To Work There: A rare opportunity to work in black ops and entertainment at the same time, successful candidates will be able to apply their perverted creativity in aid of taking over the world.

Though We Could Probably Do Without: Viewers discovering that they can be reprogrammed to turn against Spectacular Optical using their grisly reality-shattering powers.

Mitch and Murray
The Company: Real estate firm determined to get the best out of its salesmen by offering the prestigious Glengarry leads to successful workers, rather than the rubbish Glen Ross leads. Glengarry GlenRoss (1992).

Why We’d Want To Work There: “First prize is a Cadillac Eldorado. Second prize is a set of steak knives.”

Though We Could Probably Do Without: “Third prize is you’re fired.”

Pierce and Pierce
The Company: Wall Street financier with the dubious claim of employing two troubled individuals – Sherman McCoy in The Bonfire Of The Vanities (1990) and Patrick Bateman in American Psycho (2000).

Why We’d Want To Work There: The chance to hide our masks of sanity behind the trimmings of Manhattan’s high society – great suits, great haircuts and lunch at Dorsia.

Though We Could Probably Do Without: The murderous business card envy.

Lunar Industries
The Company: Mining contractors with a lucrative satellite-wide licence to harvest gas from the Moon (in the 2009 film of the same name).

Why We’d Want To Work There: If it’s solitude you’re after, this is your dream gig, as your only company on a three-year mission is Kevin Spacey-voiced computer GERTY.

Though We Could Probably Do Without: The small print in the contract that reveals we are a …

Acme Corporation
The Company: All-purpose manufacturer whose cartoon goods proved notoriously unreliable for Wile E. Coyote. The company itself is seen in Who Framed Roger Rabbit.

Why We’d Want To Work There: A gig in the research & development department, dreaming up the next wacky gadget, would be amazing.

Though We Could Probably Do Without: he slipshod Quality Control department letting our mistakes get onto the market.

Rekall
The Company: Late 21st century firm seen in Total Recall (1990) who deal in the implantation of false memories – ostensibly, just harmless stuff like holidays but really they deal in espionage gigs.

Why We’d Want To Work There: Imagine the possibilities for messing with people’s heads – you could put anything in there and they’d buy it wholesale.

Though We Could Probably Do Without: The damage caused when we accidentally try to implant memories into someone who has already been implanted.

Tyrell Corporation
The Company: The go-to guys in 2019 Los Angeles if you need to build a replicant that’s “more human than human,” as seen in various versions of Blade Runner (1982/1991/2007).

Why We’d Want To Work There: Tyrell is at the cutting edge of robotics, and there’s the constant challenge to create a replicant so good it’ll fool the Voight-Kampff test.

Though We Could Probably Do Without: A replicant revolt – why did we make these guys so strong and intelligent, anyway?

Paper St Soap Company
The Company: Artisan soap manufacturer established by the Narrator (Edward Norton) and Tyler Durden (Brad Pitt) in Fight Club (1999). All profits go to Operation Mayhem.

Why We’d Want To Work There: There’s nothing quite like sticking it to the man than by using the sticky bits of the man, namely post-liposuction fat deposits.

Though We Could Probably Do Without: All the skulking about at liposuction clinics dodging guards, getting snagged on barbed wire and being covered in goo.

Weyland-Yutani
The Company: Earth’s business ambassador to the stars, this huge conglomerate is always on the prowl for the best that space can offer, be it new planets suitable for colonisation or xenomorph tech for the military division.

Why We’d Want To Work There: If you’ve ever wanted to see the stars, Weyland-Yutani a range of job prospects from working on a freighter [in Alien (1979)] to archaeological exploration [ Prometheus (2012)].

Though We Could Probably Do Without: Their habit of using employees as guinea pigs to smuggle chest bursters back to Earth.

R. Holden & Sons
The Company: A plumbing company that is actually an undercover to Fishes, an anarchist group fighting for immigrants’ rights in a dystopian UK of the near future, in Alfonso Cuaron’s Children of Men (2006).

Why We’d Want To Work There: Well, how cool is it to work for a plumbing company when you know null about plumbing?

Though We Could Probably Do Without: The identity complex, Plumbers, Anarchists, Plumbers & Anarchists, what?





screen-shot-2016-11-22-at-9-17-43-am

Acronym — Luísa Silva Gomes e Inês Borges de Araújo (p5.2015)

Screen Shot 2015-12-02 at 5.50.13 PM
(Screenshot, Designing Brand Identity, 2009.)

P5: Análise de marcas

(scroll-down for english)

Brands now appear regularly on balance sheets in many companies. The intangible value of the brand is often much greater than the corporation’s tangible assets.
Wally Olins, The Brand Book

Objectivos

Desenvolver capacidades analíticas no contexto das imagens de marca.
Desenvolver competências no campo da teoria crítica.

Metodologia

Deverão elaborar um documento de análise de uma marca (cerca de 1000 a 1500 palavras) a seleccionar da lista fornecida (as marcas a apresentar deverão ser todas distintas, sem repetições por grupos de trabalho diferentes).

O documento a elaborar deverá incluir os seguintes parâmetros:

  1. Contexto histórico e sócio-económico da entidade
  2. Missão actual da entidade
  3. Retrospetiva histórica da marca e dos diversos elementos de identidade (material promocional, informativo, indicativo, oficial, tal como estacionário, uniformes, cartazes, outdoors, anúncios televisivos, slogans, jingles, etc.)
  4. Conceito(s) central(ais) da marca actual
  5. Identificação de sub-marcas e arquitectura da marca
  6. Material promocional e elementos de identidade actuais—tendo especial atenção aos tipos de imagens (de cariz gráfico e fotográfico) que são utilizados para promover e identificar a marca
  7. Como é que a marca investigada se diferencia das marcas concorrentes (pressupõe a identificação e conhecimento das marcas concorrentes)
  8. Análise crítica do funcionamento e desenvolvimento da marca
  9. Outros parâmetros relevantes.

A realizar em grupos de 2 elementos.

Formato

O trabalho deverá ser entregue em formato digital e impresso como uma publicação.
Para além do texto estático, o trabalho deverá ser complementado com outros media (fotografias, gráficos, vídeos, animações, hiperligações contextualmente relevantes, etc.).

Deverá também ser preparada uma apresentação pública em aula (max 10m), em formato keynote (ppt) onde se inter-relacionará imagens e discurso num contexto audiovisual (e.g. TED Talk, Ignite, Pecha Kucha, etc.).

Datas importantes

Apresentação: 19/01/2017, 09:00 Auditório Pv. Sul PDF: 18/01/2017, 21:00

Avaliação
Pesquisa e exposição de dados: 25%. Análise critica: 25%. Tratamento formal e design do documento: 20%. Apresentação pública (Ritmo, Keynote, Discurso, Fluidez 25%*4): 30%.

(english version)

P5: Brand analysis

A brand is a person’s gut feeling about a product, service, or company.
Marty Neumeier, The Brand Gap

Aims

Develop analytical skills in the context of branding.
Develop skills in the field of critical theory.

Methodology

You should develop an analytical document of a brand (about 1000-1500 words) to be selected from the list provided (the brands to be presented must all be different, no repetitions within different working groups).

The document to be drawn up should include the following parameters:

  1. Historical and socio-economic context of the entity
  2. Current mission
  3. Historical retrospective of the brand and its identity elements (promotional and informative materials, such as stationery, uniforms, posters, outdoors, tv ads, slogans, jingles, etc.)
  4. Central concepts of the current brand
  5. Identification of sub-brand and brand architecture
  6. Current promotional material and identity elements, having special attention to the types of images (of graphic and photographic nature) that are used to promote and identify the brand
  7. How does the brand investigated differs from competing brands (implies the identification and existence of competing brands)
  8. Critical analysis of the brand operation and development
  9. Other relevant parameters.

To be developed in groups of 2 elements.

Formats

The work must be submitted in printed and electronic format as a publication.
In addition to the static text, the work should be complemented with other media (photos, graphics, videos, animations, contextually relevant links, etc.).

You should also prepare a public presentation in class (10m max), in keynote format (ppt) where you should inter-relate images and speech in an audiovisual context (eg TED Talk, Ignite, Pecha Kucha, etc.).

Important dates

Presentation: 19/01/2017, 09:00 Pv. Sul Auditorium PDF: 18/01/2017, 21:00

Evaluation
Research and data presentation: 25%. Critical analysis: 25%. Document layout and design: 20%. Public presentation (Rhythm, Keynote, Discourse, Fluidity 25%*4): 30%.

Brands

Acronym (https://acrnm.com/)
Aitor Throup (http://aitorthroup.com)
ars electronica (http://www.aec.at/)
Barbican (http://www.barbican.org.uk)
*Dazed (http://www.dazeddigital.com) (Marta Bárbara)
*Gosha Rubchinskiy (http://gosharubchinskiy.com) (João Marta)
*Greenpeace (http://www.greenpeace.org) (Dagna Rowena)
Kompakt (http://www.kompakt.fm)
* KTZ (http://k-t-z.co.uk/) (Carina Ana)
Milk (http://www.milkstudios.com)
*Palace (http://www.palaceskateboards.com) (Sara)
Palais de Tokio (http://www.palaisdetokyo.com)
Stussy (http://www.stussy.com)
*Supreme (http://www.supremenewyork.com) (João Antão)
The Metropolitan Museum (http://www.metmuseum.org)
*Tate Modern (http://www.tate.org.uk) (Inês Sofia)
The Museum of Contemporary Art Los Angeles (http://www.moca.org)
Transmediale (https://transmediale.de)
*Vice (http://www.vice.com/) (Inês António)
*Warp (http://warp.net) (Miguel Maria)
*Whitney Museum of American Art (http://whitney.org) (Sofia Eduardo)
WikiLeaks (https://wikileaks.org/)






Utopia/Realidade, César Marques / p3B / dii/fbaup/2011

P3: A Palavra Ícone

(scroll down for english)

Temática

Palavras, ícones.

Objectivos

Familiarização com as relações visuais tipográficas, num espaço determinado, no sentido de uma compreensão da articulação entre a dimensão sintáctica, semântica e pragmática da tipografia.
Compreender a relação estreita entre a caraterística semântica e a caraterística icónica de uma palavra, procedendo à sua comunicação tipográfica.

Metodologia

Utilizar um par de palavras [conceitos] do banco fornecido como pressuposto para a concretização do projeto.
Proceder à resolução/manipulação gráfica das palavras, de forma a que a sua leitura visual justifique a sua componente semântica e procurando estabelecer um equilíbrio harmónico entre as componentes palavra e ícone.

As palavras devem constituir-se como signos visuais em que se estabelece uma afinidade formal ou percetiva entre o significante e aquilo a que este se refere (abordando a relação entre significante, significado e referente).

Deverá ser apresentado 1 objeto gráfico para cada palavra, segundo o programa proposto em A e em B.
A, Resolução exclusivamente tipográfica.
B, Conjugação da tipografia com outros elementos gráficos.

Formatos

O trabalho deverá ser apresentado impresso em formato A3 (orientação horizontal).

Para arquivo, deverá ser enviado um pdf do ficheiro final identificado com Nome-Apelido.pdf

Datas importantes

Apresentação: 5-12-2016, 10:00 AM. PDF 04-12-2016, 21:00 PM

Avaliação
Características e articulação das dimensões sintáctica, semântica e pragmática da tipografia: 80% (20%/A1+20%/A2+20%/B1+20%/B2). Conceptualização e execução prática do projecto: 20% (10%/A+10%/B)

Bibliografia

A bibliografia referida para o projeto anterior e as seguintes sugestões:

Meggs, Philip, ‘A HISTORY OF GRAPHIC DESIGN’, 2ª Ed, Van Nostrand Reinhold, (pp. 370-372)
McAlhone, Beryl. A Smile in the Mind : Witty Thinking in Graphic Design. London: Phaidon Press, 1998.
‘LETTER AND IMAGE’, Massin, Van Nostrand Reinhold, 1970 // Massin, “La Lettre et L’image”, Gallimard, 1993’
‘LETTERWORK’ Brody, Neuenschawander,
‘STOP STEALING SHEEP & FIND OUT HOW TYPE WORKS’ Erik Spiekermann & E.M. Ginger, Adobe Press/Hayden Books, 1993. http://www.adobe.com/misc/pdfs/sssheep_chptr3.pdf
McCloud, Scott- Understanding Comics: The invisible art. Harper, 1993. ISBN 978-0-06-097625-5. https://dl.dropboxusercontent.com/u/691178/Understanding_Comics-CAP2.zip
Lupton, Ellen; Miller, J Abbott- Design writing research writing on graphic design. Reprinted. London: Phaidon Press, 2000. ISBN 0-7148-3851-9. https://dl.dropboxusercontent.com/u/691178/DWR-Modern_Hieroglyphs%2BLanguage_of_Dreams.zip

Pares de Palavras

adequado / inadequado
amor / ódio
carismático / fascinante
cáustico / abrasivo
cru / refinado
empatia / repulsa
exceder / limitar
fácil / difícil
filantropo / misantropo
introvertido / extrovertido
israel / palestina
rock / pop
medroso / corajoso
minucioso / superficial
mirabolante / comum
obsoleto / atual
performance / collage
progredir / regredir
rebelde / conformista
pastiche / mashup
teimoso / obediente
tímido / ousado
urbano / rural
utopia / realidade
modernismo / pós-modernismo

(in english)

P3: The Icon Word

Thematic

Words, Icons.

Aims

Familiarization with the typographical visual relationships in a given space, towards an understanding of the relationship between the syntactic, semantic and pragmatic dimensions of typography.

To understand the close relationship between the semantic and iconic features of a word, carrying out their typographic communication.

Methodology

Use a word pair [concepts] from the bank provided as a prerequisite for the realization of the project.
Proceed to the resolution / graphic manipulation of the words, so that the visual reading justify its semantic component and seek to establish a harmonious balance between word and icon.

Words must be constituted as visual signs in which is established a formal or perceptive affinity between the signifier and that to which it refers (addressing the relationship between signifier, signified and referent).

You should present one graphic object per word, according to A and B.
A, Using just typography.
B, Using typography combined with other graphic elements.

Formats

The work should be printed in A3 DIN landscape.

A digital pdf version of your final file identified as Name-Surname.pdf should be sent by email to be archived.

Important dates

Presentation: 5-12-2016, 10:00 AM. PDF 04-12-2016, 21:00 PM

Evaluation
Features and articulation of the syntactic, semantic and pragmatic dimensions of typography: 80% (20%/A1+20%/A2+20%/B1+20%/B2). Conceptualization and practical implementation of the project: 20% (10%/A+10%/B).

Biliography

The bibliography referred to the previous project along with the following references:

Meggs, Philip, ‘A HISTORY OF GRAPHIC DESIGN’, 2ª Ed, Van Nostrand Reinhold, (pp. 370-372)
McAlhone, Beryl. A Smile in the Mind : Witty Thinking in Graphic Design. London: Phaidon Press, 1998.
‘LETTER AND IMAGE’, Massin, Van Nostrand Reinhold, 1970 // Massin, “La Lettre et L’image”, Gallimard, 1993’
‘LETTERWORK’ Brody, Neuenschawander,
‘STOP STEALING SHEEP & FIND OUT HOW TYPE WORKS’ Erik Spiekermann & E.M. Ginger, Adobe Press/Hayden Books, 1993. http://www.adobe.com/misc/pdfs/sssheep_chptr3.pdf
McCloud, Scott- Understanding Comics: The invisible art. Harper, 1993. ISBN 978-0-06-097625-5. https://dl.dropboxusercontent.com/u/691178/Understanding_Comics-CAP2.zip
Lupton, Ellen; Miller, J Abbott- Design writing research writing on graphic design. Reprinted. London: Phaidon Press, 2000. ISBN 0-7148-3851-9. https://dl.dropboxusercontent.com/u/691178/DWR-Modern_Hieroglyphs%2BLanguage_of_Dreams.zip

Word pairs

adequate / inadequate
love / hate
charismatic / fascinating
caustic / abrasive
raw / refined
empathy / repulsion
exceed / limit
easy / difficult
philanthropist / misanthropist
introvert / extrovert
israel / palestine
rock / pop
fearful / courageous
thorough / superficial
dazzling / common
obsolete / current
performance / collage
progress / regress
rebel / conformist
pastiche / mashup
stubborn / compliant
shy / daring
urban / rural
utopia / reality
modernism / postmodernism





P2: A Tipografia Suíça do Weingart

(scroll down for english)

Temática

Texto, tipografia, espaço e forma: signo e sintaxe.

Objectivos

Familiarização com as relações visuais tipográficas no sentido de uma compreensão tácita de uma sintaxe da linguagem visual. Pretende-se proceder à exploração da dimensão sintática e semântica da tipografia tendo em conta noções de espaço, proporção e composição, visando a organização visual dos elementos e obedecendo a princípios de ritmo e harmonia.

Metodologia

A partir dos textos facultados, deverão realizar composições utilizando cada uma das frases isoladamente, mediante os seguintes programas:

  1. O texto deverá ser composto em apenas uma fonte tipográfica e com o mesmo corpo.
  2. Explorando variações do corpo da letra, utilizando a mesma fonte.
  3. Explorando variações de corpo, peso e ângulo, utilizando tipos da mesma família.
  4. Explorando a conjugação de duas fontes tipográficas, de famílias distintas, na mesma composição.

As composições devem constituir interpretações tipográficas do texto facultado, onde forma e conteúdo se reforçam, usando a hierarquia visual e a sintaxe no estabelecimento da mensagem.
Tendo em conta a lógica e conteúdo do texto e atendendo a critérios de legibilidade, e qualidade visual, deverão ser utilizadas variações do espaço entre linhas, palavras e caracteres, considerando a sua posição relativa e a relação com o suporte, na procura de possibilidades funcionais para a comunicação tipográfica tentando ainda superar convenções.
Deverá ser entregue um máximo de 3 soluções finais para cada uma das fases, e para cada uma das frases, num total de 12 propostas para cada frase totalizando 36 composições.

Formatos

O trabalho deverá ser realizado a preto e branco, sem uso de gradações tonais, num formato uniformizado, A4 ao alto/portrait encadernado, acompanhado por uma breve memória descritiva [±300 palavras] em que deverá constar a identificação e justificação das escolhas tipográficas.

As fases/programas deverão iniciar com um separador correspondente: 1, 2, 3, e 4 ou i, ii, iii, iv ou uno, dos, tres, quatro ou one, two, three, four etc.

Deverá ser enviada por email uma versão digital do ficheiro final em formato Nome-Apelido.pdf

Deverá ser impresso um poster A3 da melhor solução do Sous les pavés, la page

Datas importantes

Apresentação — 7.NOV.2016 10:00 AM. PDF 6.NOV.2016 21:00 PM 10.NOV.2016 10:00 AM PDF 9.NOV.2016 21:00 PM.

Avaliação
Fases/Programas, valores conceptuais, estéticos e técnicos: 20%x4=80%. Resolução formal do objecto: 20%.

Bibliografia

Weingart, Wolfgang ‘HOW CAN ONE MAKE SWISS TYPOGRAPHY’ in ‘LOOKING CLOSER THREE, CLASSIC WRITINGS ON GRAPHIC DESIGN’, Allworth Press, 1999
How can one make Swiss Typography?
Ellen Lupton’s Thinking with Type
Meggs, Philip ‘A HISTORY OF GRAPHIC DESIGN’, 2ª Ed, Van Nostrand Reinhold, pp. 448 – 456

Textos

Sous les pavés, la plage !

I hear and I forget,
I see and I remember,
I do and I understand.
Provérbio Chinês

Um parágrafo inteligente sobre o texto do Weingart.

(in english)

P2: Weingart’s Swiss Typography

Thematic

Text, typography, space and form: sign and syntax.

Aims

Familiarization with the typographic visual relationships towards a tacit understanding of a syntax of visual language. We intend to proceed with the exploration of the syntactic and semantic dimensions of typography taking into account notions of space, proportion and composition, regarding the visual organization of elements and conforming to principles of harmony and rhythm.

Methodology

Using the provided texts, you should perform compositions using each of the sentences individually, and according the following programs:

  1. The text should be set in just one typographic font and in the same body size.
  2. Exploring body size variations within the same font.
  3. Exploring variations of size, weight and angle, using type from the same family.
  4. Exploring the combination of two typographic fonts from different families in the same composition.

The compositions must provide typographic interpretations of the text in which form and content are mutually reinforced, and using a visual hierarchy and syntax in establishing the message.

Considering the logic and content of the text and attending to legibility criteria and visual quality, you should use the variations of the space between lines, words and letters, considering its relative position towards the composition space, and seeking functional possibilities to typographic communication and pushing conventions.

You should deliver a maximum of 3 final solutions for each of the phases, and for each of the phrases, totaling 12 proposals for each phrase or 36 final compositions.

Formats

The work should be done in black and white, without tonal gradations, in A4 DIN portrait format bound in a single volume or volumes, and containing a brief synopsis [±300 words] identifying and justifying your typographic choices.

Each phrase/program should start with a correspondent section marker: 1, 2, 3, and 4 or i, ii, iii, iv or uno, dos, tres, quatro or one, two, three, four etc.

You should send by email a digital pdf version of your final file identified as Name-Surname.pdf

You should print an A3 poster with the best solution for Sous les pavés, la plage !

Important dates

Project delivery and critique — 7.NOV.2016 10:00 AM. PDF 6.NOV.2016 21:00 PM 10.NOV.2016 10:00 AM PDF 9.NOV.2016 21:00 PM.

Evaluation criteria
Phases/Programs, conceptual, aesthetic and technical qualities: 20%x4=80%. Formal resolution of the object: 20%.

Bibliography

Weingart, Wolfgang ‘HOW CAN ONE MAKE SWISS TYPOGRAPHY’ in ‘LOOKING CLOSER THREE, CLASSIC WRITINGS ON GRAPHIC DESIGN’, Allworth Press, 1999
How can one make Swiss Typography?
Meggs, Philip ‘A HISTORY OF GRAPHIC DESIGN’, 2ª Ed, Van Nostrand Reinhold, pp. 448 – 456
Ellen Lupton’s Thinking with Type

Texts

Sous les pavés, la plage !

I hear and I forget,
I see and I remember,
I do and I understand.
Provérbio Chinês

A clever paragraph about Wolfgang Weingart’s text.

The Chinese paragraph is to be found In ‘EDUGRAPHOLOGY — THE MYTHS OF DESIGN AND THE DESIGN OF MYTHS’, Victor Papanek, in LOOKING CLOSER 3: CLASSIC WRITINGS ON GRAPHIC DESIGN, Allworth Press, 1999
Publicado pela primeira vez in ‘Icographic’nº 9, Croydon, Inglaterra, 1975









P1: Eu ++ / Me ++

“Hopefully, information architecture is not just graphic design. The Ted conferences is information architecture because I design how people communicate in real time, and I change the structure of my conference so what I design gets rid of the anxiety of understanding in real time, in physical space and time. It’s all information architecture. A good phone call is information architecture. Good words, the appropriate relationship between words and visual things, is information architecture.” (p.200)
Richard Saul WURMAN on information architecture—Design Dialogues, 1998, ed. Steven Heller & Elinor Pettit.

PT

Os estudantes deverão criar a identidade colectiva ficcionada de uma equipa de três elementos, elaborando uma apresentação em formato Pecha Kucha (20 slides x 20 sec) com recurso à imagem e texto como elementos fundamentais que deverão acompanhar o discurso. Poderão ser também utilizados objectos, recomendando-se a interacção com o público.
Não deverão ser usadas imagem em movimento e som.

Avaliação
Apresentação pública: Ritmo, Keynote, Discurso, Fluidez 25%*4.

Duração da apresentação: 6’40” min
Trabalho de grupo com três elementos.
Apresentação: 1/OUT/2013, 9 AM, Aula-Magna.

EN

Students should create and present the collective fictional identity of a team of three people by designing a presentation in Pecha Kucha format (20 slides x 20 sec) using text, image and oral discourse as its main elements. Other props can also be used and the interaction with the audience is encouraged.
Motion pictures and sound should not be used in this project.

Evaluation
Public presentation Rhythm, Keynote, Discourse, Fluidity 25%*4.

Presentation length: 6’40” min
Team work of three elements.
Presentation: 3/OUT/2016, 9 AM.

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