Level one typography students think about data and typographic hierarchy.
Peggy Bloomer Adjunct Professor Quinnipiac University Southern Connecticut State University
In this project I hoped to make level one typography students
think about data and typographic hierarchy with. In my experience, students are
not concerned about the data that is collected about them. I hoped to broaden
their understanding of the power of data through their creation of a large
format poster (24” x 26”) using lists about the passengers on the Titanic purchased
from the “Encyclopedia Britannica.”
The textbook for the class is Ellen Lupton’s Thinking
About Type. This assignment is an adaptation of Lupton’s hierarchy
assignment “Long Lists.” According to Lupton, hierarchy is the organization of
content using the spatial clues of indents, line spacing and placement. Other
graphic elements that distinguish content include size, style and color.
Researching the list of passengers, students were asked
to find human stories. The lists contained information about 1st, 2nd,
3rd class passengers and employees of the Titanic. Surnames,
servants, gender, age, nationalities and origin of embarkment were provided.
The poster was created in InDesign without photographic images. Students could
use and InDesign tools to create color elements and many created ships, funnels,
waves and other shapes.
The traditional process of information gathering, sketching and mocking up was used for designing the posters. In-class critiques of 3 smaller 11 x 17” versions helped students realize what was successful or not. Final versions were created to the larger size, printed, presented in class and hung in the department hallway for viewing.
In conclusion, most students realized the economic and
gender consequences for passengers. One student used color to emphasize
families and the impact was powerful: families died from infants to parents.
The students gained knowledge about the power of simple data and almost all of
them used size, style and color effectively. The use of indents, line spacing
and style guides were not as successful. In the future, I plan to incorporate a
slide show of memorials that include powerful images such as Flanders Field,
The Vietnam Memorial and the Holocaust Memorial.
Saturday, September 22, 2018. 2pm–5pm. Type Directors Club, 347 W 36th St., #603, New York, NY 10018
Join industry professionals and design educators for a panel discussion on creating effective design portfolios. We will explore the role portfolios play in a successful design career now and in the future and will ask, are traditional portfolios still relevant? If so, what does a successful portfolio look like and what kind of projects should be included? Panelist will discuss what clients and employers want to see and which abilities industry leaders consider most important? You are invited to join the discussion as we look at new ways of teaching and explore emerging trends in effective portfolio development.
Christina Black Vice President, Creative Director Showtime Networks Inc.
Michael McCaughley Lead Designer at OCD
Holly Tienken Assistant Professor Communication Design Kutztown University of Pennsylvania
Peter Lusch Assistant Professor Dept of Art, Architecture & Design Lehigh University
Liz DeLuna Associate Professor St. John’s University
Janet Esquirol Assistant Professor Borough of Manhattan Community College, CUNY
Craig Konyk AIA Assistant Professor of Architecture School of Public Architecture Michael Graves College Kean University
The Education of an Architect in unlike many other disciplines in that the primary vehicle for the teaching of Design is the Architectural Studio. The Architectural Studio has its roots in the Beaux-Arts Atelier model from turn of the century France, where young architectural students would work in the design office of their Architectural Instructors, learning by emulation and association from like-minded colleagues. It was an informal affair, but actually a very encouraging model for creative enterprise.
Growing out of the model of the Artists’ Studio, where leftover, underutilized spaces (mansard attic spaces in Paris, basement space in Coenties Slip and lofts in Soho, Lower Manhattan, etc.) became places of creative production, and even urban rejuvenators, the Architect’s Studio became formalized in American Architectural Professional Education as the central component of a young architect’s path to licensure and professional standing. Without the Architecture Studio, one could not become an Architect.
Additionally, another significant component of the Studio system is the amount of time that is spent in the Studio working on design projects, discussing potential solutions, crafting submissions for final evaluation. The intensity and complete focus of the effort in one place for a sustained period of time creates an atmosphere not unlike a laboratory, where anexperiment is pursued to its logical conclusion. In our increasingly distracted and undirected society, the ability to combine time, singular focus and a space to achieve something of quality is a rare occurrence; one could even say it is a “luxury”. But in fact it is a necessity for one to achieve any significant break through in design.
This presentation will explain the unique properties of the Architectural Studio format, its history and development pedagogically and how elements of it may have application in other focus intensive design disciplines. It will argue that the Architecture Design Studio was a Design Incubator even before the term was given definition.