instructor: rcarter 2015 fall semester hundreed · create a text illustration that re˚ects more...

2015 FALL SEM

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artonehundreedone

Karl Holley Jr.

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artonehundreedone

PROJECT ONE: FOUND POETRY

You don’t have to be poetic to �nd a poem. On a page of an old book you can draw any shape, object, or idea and choose words in order to create a poem… You’ll be surprised to discover what is hidden in a page.

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PROJECT TWO:I KNOW WHY THE CAGED BIRD SINGS

Some Basic Supplies: Pencil, eraser, scissors or x-acto, ruler, black ink, color pencils, circletemplate, colored papers, and charcoal pencils.Use the words “I Know Why the Caged Bird Sings” create a text illustration that re�ects morethan the words represent by themselves. Intend to give the audience some insight to thephrase. Start with a small number of elements representing di�erent colors, tastes, andtextures. Strive for contrast rather than harmony, looking for emphatic di�erences rather thanmushy transitions. Give each ingredient a role to play: sweet, strong, and the shocking.When mixing typefaces and letters on the same line, designers usually adjust the size so thatthe middles align. When placing typefaces on separate lines, it often makes sense to createcontrast in scale as well as style or weight. Try mixing big, light type with small, dark type fora criss-cross of contrasting shapes and line widths. Remember contrast is good at catchingattention but it can be distracting. Balance is the key to communication

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artonehundreedone

PROJECT THREE: 60 MINUTES WITH YOURSELF

FREE WRITING and SKETCHING: :Write about something that you wish you had more time for, or had more time to do. Keep inmind the realities of how you spend your time. Make note of what you consider to be "free"time and non-negotiable activities. For 60 minutes simply record your re�ections on the timeyou spend in pleasurable or joyous activities. Review your journal entries. Is there anyrepresentations of time that you can see a color, texture, line, word, that moves you towardswhat you want to accomplish, have or be reminded to do. Create a hand-drawnrepresentation for your thinking. Create an image that whenever you look at it, the picture willto help you shift towards doing more of what you want to do with your time.

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artonehundreedone

PROJECT FOUR: DOUBLE MEANING

YOU MADE THIS

BEDNOW LAY IN

IT!!!!!

VARIETY __ ALTERNATIONS:“The “Switch We often interact with things based on how we feel about them. Understandingrelationships require obligation. We are obligated to comprehending movies, our favoritemusic, and books. We are obligated to our professions and practices. The nature and extentof relationships can be looked at in terms of desire, impulse, need and obligation.Contemplate your relationships with various people, places and things in your life and writeabout them in terms of similarity to other disconnected things. Note that obligation andimpulse are not necessarily a negative concepts. And, admitting that you are “connected”,does not mean that the other object or situation is better. (“the grass is always greenerconcept”) Continue the exercise by designing or drawing your typographic response. Asimple example: “Life is like a box of chocolates.”We assume that we see the metaphoricswitch but is it understood?

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PROJECT FIVE: USE OF MEMORY

Simplicity

MEMORY __ RECALL:“Just tell it the way it or the way we believe it to be.” Memory and Recall - Writing the known and the unknown. Close your eyes, let an image appear. Allow yourself to view the image in detail, taking note of texture and mood. Next, pretend that you have a photographic memory. Use three to �ve words to tell everyone else the truth about what you saw. Allow yourself time to make it a realistic experience. Now go back to you creative materials and create your image using text, shape, texture, and color,again focusing on details and mood. Continue making notes to help contextualize your image.Eidetics - relating to or denoting mental images having unusual vividness and detail, as ifactually visible

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PROJECT SIX: PARODY

The visual message which professes to be profound or elegant often boomerangs as mere pretension; and the frame of mind that looks at humoras trivial and �ighty mistakes the shadow for the substance. In short, thenotion that the humorous approach to visual communication is undigni�edor belittling is sheer nonsense.

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PROJECT SEVEN: CALENDER