Level one typography students think about data and typographic hierarchy.
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.
Solution: add a significant drawing component to the curriculum
University of Massachusetts Lowell
I teach the History of Graphic Design to art and design
students. Most of them are visual learners. I find it an exciting challenge to
teach in a way that inspires learning among these students. Below are excerpts
from an article I wrote for the international journal Visual Inquiry in 2013
entitled, “How Drawing Helps Keep History Present”.
When I was an art student, one of my favorite classes
was art history. I remember my professor’s lectures to be fascinating yet I
remember almost nothing about art history itself. The information she shared
with the class didn’t stick with me. Two decades later I was asked to teach a
History of Graphic Design class. I was thrilled and terrified. How could I
teach a class as interesting as the one I took years before yet help my
students retain the information they were learning? My solution was simple: add
a significant drawing component to the curriculum. By having students create
work based on the lectures I presented they put their knowledge into immediate
use. The results were astounding. On tests throughout the semester, questions
relating to the drawing assignments were much more likely to be answered
correctly than other questions.
A pleasant surprise—regardless of a student’s inherent
drawing skill, using drawing was an effective tool. My class consisted of both
art majors and non-art majors. I graded not on the expertise of the rendering,
but rather on how each student integrated new knowledge of graphic design
history into the drawing assignments.
The most rewarding part of the course was seeing how
much the students loved the drawing assignments. At the end of the class when I
asked the students what they thought they would remember from the semester, all
of them stated a lesson that went along with a drawing assignment.
A Hispanic identity has been part of the United States since long before the massive immigration of the last decades. I explore the process as a form of research over finished forms.
Assistant Professor, Graphic Design
Florida Atlantic University
Visual representations of arguments based on historical events have the potential to shed light on contemporary issues. The graphic formats to structure such representations can include maps, data visualizations, and interactive archives. In this presentation, I show a series of projects where I use the tools of design to explore contemporary questions about the identity of places with a historical perspective. Using datasets and existing archives I seek to make evident the argument that a Hispanic identity has been part of the United States since long before the massive immigration of the last decades. I explore the process as a form of research over finished forms. With each iteration I continue to understand how arguments developed in long narrative texts can be communicated through visual forms.
In my engagement with historical narratives, I pursue more inclusive frameworks and decentralized ways of telling stories. Representing an argument in a visual format is also an act to bridge design practices with the humanities in the hope to establish methodologies for collaborative interdisciplinary endeavors.
Andrés Vera Martínez
Assistant Professor, Cartooning and Illustration
Lesley University College of Art and Design
The Spanish term Mestizos, meaning mixed, came into popular usage during the 16th century to describe the offspring of Spaniards and Native Americans. Vaqueros, or the first cowboys, were Mestizos and their cowboy culture has been mythologized and marketed; but too often stripped of the ethnic origins before presented for popular consumption. Tejanos, or the first Texans, were borne of the mix of Spaniards and Native Americans and were the original cowboys of the United States. This culture lives on today in Texas through the food, language and ranching culture.
Espiritu, Texas 1886 -2015 will tell the story of a Texas built upon the struggles and triumphs of diverse people. This presentation will focus on one chapter, Lamesa, TX 1961: Andrew Martínez.