AIG Graphic Design Unit McDaniel and Slye

Logo Logistics: Discovering the World of Graphic Design
http://logologistics.weebly.com
Lesson #1 Form Follows Function

Lesson #2 Typography: The Art of the Written Word
Lesson #3 Picture This: How Pictures Work
Lesson #4 White Space is Not Your Enemy
Is your inner graphic artist begging to come out? Could you design an ad campaign so
incredible that you could sell sand in the desert? If so, then the art of graphic design
may be for you. Delve into the rudiments of graphic design from making words pop
with typography to using computer programs to develop intricate designs. Develop an
appreciation for perspective within graphic design as well as the perspectives of those
whose attention you are trying to grab. Through logo design, ad campaigns, and
infographics, you will experience what is involved in graphic design and possibly ignite a
new outlet for your creative self.
How does art or graphic design communicate the human experience?
Elizabeth McDaniel and Julie Slye

SPED 6402 Spring 2015
East Carolina University
CONTENT RESEARCH PAPER

Graphic design, also known as communication design is the art of

presenting ideas and experiences with visuals and text. It can be physical or
virtual and can include images, words, or graphic forms. From cave drawings
dating back to 23,000BC and the hieroglyphics of 4000BC to the digital age
of today, graphic design has had an impact on people. It supplies us with
information, incites emotions, or sells a product. If you can envision the
golden arches or an apple logo, you have felt the power of advertising
through graphic design. If the sight of a swastika gives you pause or makes
you cringe, you have felt the emotion that can be conveyed through graphic
design. Graphic designers have to be aware of the perspectives of their
audience. The image of a swastika would be perceived as a design that
would evoke negative emotions throughout the world, but if you are a
graphic designer in China then you know that the swastika design stands for
good fortune and prosperity. Though graphic design has been around for
eons, graphic design as a profession is a fairly new venture.
Graphic design became an official moneymaking venture in 1869,
when the first advertising agency of N.W. Ayer and Son of Philadelphia
opened its doors. N.W. Ayer and Son became a leader and innovator in the
field of advertising. Francis Ayer, founder, was a schoolteacher that also
worked on commission soliciting advertisements for National Baptist Weekly.
He saw a potential to earn money as an advertising agent, and with the help
of his father, started N.W. Ayer and Son advertising. His business flourished
through a smallpox epidemic and the economic depression of the 1870s.
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Most of his business, at the time, focused on securing advertisements for

newspapers. In 1876, Ayer revolutionized the advertising agency by
developing an open contract with advertisers. The open contract system
kept agencies honest by giving advertisers access to advertising space
charges set by newspapers. Advertisers could now pay a commission to the
advertising agency based on costs set by the newspaper. Prior to this,
advertisers did not know costs for space and relied on agencies to determine
pricing which unfortunately resulted in greedy agencies bilking advertisers.
According to Henderson (2012), Ayers ethical and fair behavior skyrocketed
his popularity and by 1890, he owned the largest advertising agency in
America. Ayer also was a pioneer in graphic design by being the first agency
to employ fine art in design and having an entire art department as part of
his team. Some of Ayers most famous advertising ventures include De Beers
A Diamond is Forever campaign that began in the 1940s, Ronald Reagans
War on Drugs campaign of the 1980s, Be all that you can be Army
campaign of the 1960s, and AT&Ts Reach out and touch someone of the
1990s. Over time, these campaigns lost funding and Ayer and Son was
financially forced into a merger with the MacManus Group in 1999 (GomezPalacio and Vit, 2009).
In conjunction with the advent of official advertising agencies came the
profession of the graphic designer. Artists found gainful employment in the
exploding world of advertising. Alexey Brodovitch, a Russian, moved to the
United States in 1930 and established an advertising art department at the
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Philadelphia Museum of School of Industrial Art. After witnessing one of his

advertising shows in 1934, the editor-in-chief of Harpers Bazaar, Carmel
Snow, offered him an art directors position for the magazine. With his
approach to photography, layout and typography, Brodovitch set the look of
Harpers Bazaar for 24 years (Gomez-Palacio and Vit, 2009).
Letters and words have always been the rudiments of advertising.
Typesetting transformed the written word into a uniform type that is still used
today in published newspapers and magazines. Letters became a passion for
a graphic artist by the name of Herb Lubalin. He is known as the
grandfather of typography (Henderson, 2012). He turned ordinary type into
graphics for use in advertising and logos. He worked for several advertising
firms as an art director in the 1940s and 50s until he established his own
firm, Herb Lubalin Inc., in 1964. In 1970, he cofounded the International
Typeface Corporation. Through his corporation he developed a catalog of
typefaces that was considered a necessity for anyone in the advertising
industry. Herb Lubalin was said to have an uncanny ability to visualize
typographic elements in unique solutions that, with his ingenuity, daily tools,
and play with emerging technologies, set him apart from his peers (GomezPalacio and Vit, 2009, p. 167).
Graphic artists that have spanned the decades have been able to
integrate their design abilities into many different types of advertising
venues. Saul Bass entered into the business of graphic design in the 1940s.
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When the film industry was really taking off, Saul Bass jumped on board. He
designed film posters and titles. Bass developed an interest for filmmaking
and designed short films for companies such as Kodak and United Airlines
and also opening sequences for several movies. Saul Bass still had a passion
for the more traditional graphic design of logos. Some of his more famous
logo designs included such industry and nonprofits as Continental and United
Airlines, Quaker Oats, Warner music, AT&T, YWCA, and the Girl Scouts of
America. After taking a break from film during the 1970s and 1980s, Bass
jumped back into the film industry in the 1990s. He worked with Martin
Scorsese during this time and developed four more opening sequences
before his death in 1996 (Gomez-Palacio and Vit, 2009).
The ability of graphic design to change or adapt to cultural or societal
changes makes it a versatile career. Today a visual culture exists in our
world. According to Hagen and Golombisky (2013), All day every day, you
read the messages of visual culture, from the logo on your shirt to traffic
signals (p. 2). Anything you see that is printed, televised, in video games,
on the Internet, or in movies is made in part or all by graphic designers. We
are like communication doctors; everyone needs our services sooner or
later (M Grassell, personal communication, January 28, 2015). Graphic
designers are creators of communication. Graphic designers can be
advertisers, magazine designers, photographers, illustrators, cartoonists,
animators, game designers, identity designers, sign makers, book designers,
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web designers and, of course, teachers (M Grassell, personal communication,

January 28, 2015).
Hagen and Golombisky (2013) state that graphic design is
essentially organizing visual objects in space. Therefore the product must be
eye-catching to capture attention, flowing to control the eyes movement
across the page, interesting so that it conveys information, and evocative in
nature. Basic concepts of graphic design include the design principles of
balance, unity, emphasis and repetition. The design elements of line, color,
space, and texture are at the forefront of any design (M Grassell, personal
communication, January 28, 2015). Typography is another basic concept and
is considered an art form in itself. Lupton (2004) declares that typography is
what language looks like. That language has changed with the advent of
computers. Graphic designers can be limited by computers or computers can
open up new possibilities within the field of design.
Graphic designers are educated in two areas: Hand Art Skills and
Technical Skills. All design schools educate their students in both of those
areas. First designers must like to draw and understand the aesthetics of art.
Secondly, they must become familiar with design software. Seddon and
Waterhouse (2009) assert that graphic design and computers are now
inextricably linked. Graphic designers must spend time getting to know
design software such as Adobe Creative Suite. This software is used in
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conjunction with Adobe Illustrator, InDesign, Photoshop, AfterEffects,

Dreamweaver and some animation software such as Cinema 4D.
The 21st Century is flooded with Graphic Design. It is essentially
communication that is globally legible. Graphic design can influence,
instruct, and appeal to our emotions. Graphic designers must understand the
concepts of visuals, typography, and space. They must be able to create art
by hand but also utilize technology effectively. They must understand art
from an aesthetic as well as functional perspective. Most importantly, they
must understand the universal themes that unite humanity in order to
successfully create their various products. Graphic design has been around
for decades and will continue to adapt and change as the world evolves.
References
Gomez-Palacio, B. & Vit, A. (2009). Reference graphic design. Beverly, MA:
Rockport Publishers, Inc.
Hagen, R., & Golombisky, K. (2013). White space is not your enemy: A
beginners guide to communicating visually through graphic, web &
multimedia design. New York, NY: Focal Press.
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Henderson, K. (2012). 20 graphic designers you should know. Retrieved from

www.complex.com/style/2012/03/20-graphic-designers-you-shouldknow/
Lupton, E. (2004). Thinking with type. New York, NY: Princeton Architectural
Press.
Seddon, T., & Waterhouse, J. (2009). Graphic design for non-designers. San
Francisco, CA: Chronicle Books.
Mary Grassell is a Graphic Design expert. Currently she works for

Marshall University, West Virginia, in their Graphic Design Department as a
Professor. She has been educating graphic designers at Marshall for twenty
three years. Before that she was the Creative Director at Gallaher Group in
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Ashland, Kentucky, for five years. From 1979 to 1990, she was the Graphic
Design Coordinator/Instructor for Westmoreland County Community College
in Youngwood, Pennsylvania. She has also held positions with Studio 2 in
Pennsylvania and Alba House Communications in Ohio.
In addition to her graphic design career, she is a painter and
printmaker who has exhibited her work in such places as Tamarack, West
Virginia; Carnegie Hall, West Virginia; Southern Ohio Museum , Ohio; Three
Rivers Arts Festival, Pennsylvania; and Stiffel Gallery, West Virginia. She is
the co-owner of Main Street Studio in Hurricane, West Virginia, where she has
her studio and gallery.
Mary Grassell was the professor of Sarah Greer, Elizabeth McDaniels
sister, while she was enrolled at Marshall University. Sarah also worked
closely with Professor Grassell while employed for Marshall University as a
graphic designer. Sarah contacted Professor Grassell via email to ask her she
would be interested in helping out with her sisters unit for the ECU AIG
camp. Professor Grassell was happy to help. Elizabeth and Julie emailed her a
set of questions to help them formulate their content for the paper as well as
give them ideas for the upcoming camp. Professor Grassell also added that
she was willing to prepare some small but critical assignments for the week
at camp if needed. Mary Grassell can be reached via email at
grassell@marshall.edu or by phone 304-696-2894.
Annotated Bibliography
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Airey, D. (2010). Logo design love: A guide to creating iconic brand

identities. Berkeley, CA: New Riders.
This book gives a brief history of the business of logo design. It is a
guide to help students understand the art and function of logos. The
author, David Airey, explains the process of logo design with real world
anecdotes.
Bang, M. (2000). Picture this: How pictures work. New York, NY: Sea Star
Books.
The author, Molly Bang, presents the elemental design of pictures. She
illustrates how pictures tell the story and therefore emphasizes the
importance of visuals to communication. She places a strong
importance on geometric perspectives in design that will evoke
emotion.
Bothwell, D., & Mayfield, M. (1991). Notan: The dark-light principle of design.
New York, NY: Dover Publications, Inc.
This book focuses on the interaction of positive and negative space.
Space is an important design principle of graphic design.
Understanding white or negative space is essential to creating a
balanced design.
Heller, S. & Vienne, V. (2012). 100 ideas that changed graphic design.
London: Laurence King Publishing.
This book showcases 100 important ideas that have shaped the world
of graphic design. Each idea includes a poster emphasizing the design
principle, gives the background information behind the principle, and
insight to how the idea changed the world of design.
Kidd, C. (2013). A Kidds guide to graphic design. New York, NY: Workman
Publishing.
This book explains the elements of design, including form, line, color,
scale, and typography. These design elements are showcased in a way
that illustrates how they can be utilized in creative ways. This book
ends with various projects.
Kids Design Collaborative (2014). Kids think design. Retrieved from
www.kidsthinkdesign.org/graphics/index.html
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This website includes an introduction to graphic design that appeals to

children. Topics include world of design, graphics, interiors, film,
animation, and environmental design. It also introduces children to
different designers and gives kid friendly project ideas.
Mendizabal, A. (2014) HT inspires. Retrieved from www.htinspire.com

This source familiarizes students with typography and graphic design.
It gives visual representatives of graphic design through photography
of architecture, models, and infographics.
Merced, P. (2015). Learning lift of. Retrieved from www.learningliftoff.com/5graphic-design-projects-and-games/#.VM6YqtLF-So
This website introduces students to design projects and games. It
includes templates for creating logos, business cards, and package
labels. Games include color challenges and typography. An example
of a typography game is Shoot the Serif.
Tate (2015). Tate kids. Retrieved from www.kids.tate.org/uk/games/street-art/
This website links graffiti with graphic design and illustration. All
different types of art tools and utensils are utilized. Games are used
that incorporate different perspectives of angles and other graphics.
Zhu, F. (2009). FZD School of design. Retrieved from www.fzdschool.com
This website was recommended by our Graphic Design expert Mary
Grassell. It illustrates a school in Singapore that teaches only
conceptual art. The site includes games and movies. FZD introduces
students to conceptual design and the rigor involved in becoming a
graphic designer.
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CONNECTION TO THE THEME

In defining perspective for our unit of topic, graphic design, we are fortunate in
that we will be able to incorporate different meanings of the word. One definition of
perspective deals with the art of drawing two-dimensional objects so that it gives the
right impression of height, width, depth, and position in relation to each other when
viewed from a particular point. This is one of the foundations of graphic design in terms
of artistic representation of objects and also with typography. As we develop logos, Tshirt designs, and design challenges, the focus will be on the visual perspective of
images and type in graphic design.
Perspective also has another definition which is more visceral in nature. It refers
to a general attitude or feeling towards something. It is a point-of-view type reaction to
an object or occurrence. Graphic design and the advertising dollars that it so often
seeks, relies on researching what perspective your audience will have on your design.
Luckily, we will be able to tap into this perspective, too, with our unit on graphic design.
By viewing and developing graphic designs, the students will be focusing on their
reaction to certain types of graphic design as well as the reaction they hope to get from
their audience.
Graphic design is defined by perspective. If the graphic artist does not
understand perspective in his design, then the art that should come alive remains a
static and uninspiring display of lines and angles. Another important perspective is that
of the consumer of graphic design, or the audience that the designer is trying to reach. If
the graphic artist does not connect on a visceral plane with the audience by
understanding the audiences perspective on the design at hand, then the artist has
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failed that audience and quite possibly a job position. It will be the goal of our unit on
graphic design to get the students thinking about perspective through the rudiments of
graphic design theory and through the process of understanding the importance of
knowing the perspective of your audience.
To begin working with the theory of graphic design and understanding the basics
of angles and lines, the Apple video on perspective that we watched for our class,
http://www.youtube.com/watch?v=TJ1SDXbij8Y, is the perfect hook. The camera angles
and lettering angles are manipulated so that nothing suddenly becomes something
phenomenal. The students will spend some time working with typography in order to get
a handle on how lettering and the angles and designs of letters themselves can be an
encompassing feature of graphic art. In addition to typography, the students will get an
understanding of perspective by using angles and drawings from the book by Molly
Bang, Picture This: How Pictures Work. In the book she takes angles and simple
geometric shapes and manipulates them and changes them out to see how altering
them alters the perspective of the design. We will also use Chip Kidds book, Go: A
Kidds Guide to Graphic Design. In the book there is a lot of emphasis on color and
symmetry of design and how it affects perspective. One of Chip Kidds basic definitions
of graphic design seems to sum it up best, Content + Form + Type = Graphic Design.
Another focus in graphic design is that of the audience. After getting the
fundamentals of design under their belts, the students will use visuals to get an
understanding of how perspective is related to them and the others around them. For
our point to ponder we will use A picture is worth a thousand words to get them
thinking about how they are affected by graphic design. Then, by collaborating with the
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other students in the classroom, they will gain an understanding that a picture may be
worth a thousand words, but the words will be different for everyone. As a graphic artist,
they will be challenged to find the words that are common to the demographic that they
are trying to reach. Through their design brief, they will try to portray a message and
then they will gauge their success through audience reaction, or perspective. In our
design challenge, the students will form groups and be given the same challenge. It will
be the goal of the group to research and understand the perspective of their audience
and find an aesthetically pleasing design to entice their audience to become invested in
their design by voting.
So, it is with much appreciation to the one who chose perspective as the focus of
the AIG summer camp. Graphic design is full of perspective. It is our goal to have the
students get a feel of how perspective functions via graphic design by learning the
rudiments of graphic design to applying those principles to a real word problem.
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TECHNOLOGY INTEGRATION
Computers are to design as microwaves are to cooking is a famous quote by
Milton Glaser. Technology has taken graphic design from the professional studio into
small businesses and even into the home. Graphic design can easily thrive without
technology as evidence by its history. However, technology like the quote above can not
only speed up the process of design but can bring design to the masses.
The most vital piece of technology integration will be access to the Weebly
website. Weebly is a versatile and easy to use website builder that offers several
features that will be incorporated into our specific site to facilitate learning during the
week of camp and after. This site will provide vital resources and areas of collaboration
for the campers. We will set up our site with links to the daily Blendspace lessons that
will allow our students to immediately dive into the content of graphic design, but in a
way that will streamline the content so as to not overcome the students with the
magnitude of information available on the topic.
Blendspace is a free web tool that allows presenters multiple ways in which to
cover material. This tool has features that make it very easy to search available media
pertaining to the content of the presentation. The benefit of Blendspace is that it is
wonderful for flipping a classroom. Students can access the material later at their
convenience for a review of content or for clarification of a possible misconception. The
drawback is that it lacks interaction and is mainly a tool for delivering content. To
combat this con, we will have several activities that require the lesson to stop and
students to act at camp. We will also utilize the quiz tool on Blendspace. The main goal
of the unit is for our students to create. However, Blendspace is a tool that will allow us
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to deliver the material needed in order for students to be successful in their design
creations.
The Weebly site will contain resource links that will be pivotal for the weeks
assignments as well as tools that students will be able to utilize beyond the four day
camp once their interest is piqued. While working on their design briefs, students will
need access to tools for integration of photos in graphic design. We will utilize
www.aviary.com as the photo creation tool of choice. Aviary promises to Make photos
magic. Students will be learning how graphic design and the world changed when
Photoshop and other web-based tools allowed for images to be manipulated at will.
They will need to play with images by cropping them and deciding what perspective or
angle will best compliment the overall design. Aviary was selected based on its
appropriateness for what campers are being asked to design at camp. Another key
component to graphic design is typography. Sites like www.fontsquirrel.com and
www.myfonts.com/WhatTheFont/ will allow campers access to a multitude of type. On
both sites, students have an option to upload unknown fonts to find the closet match in
the sites database. As well as find new fonts designed by talented typeface designers.
Another resource that will be integral in creating their design briefs will be
www.logogarden.com\. There is a wide array of free logo design sites on the web today.
We will introduce them to one option with the knowledge that many other resources are
available to them. The most important part of the design process will be the ability for
them to draw logos. Some of the free apps that they will utilize include Drawing Desk,
Drawing Free, One Touch Drawing, Draw Something Free, and Doodoo Pad. Another
drawing tool is housed within Google Docs. The students will need access to an IPad to
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access these apps. These apps will allow them to make the images in their minds a
reality of their designs. The above resources are all user friendly and will not require
extensive training on how to use the app or site before students can dive right into
creation.
The Weebly site will also house an important communication and collaboration
tool. Students will be employing the STAR legacy component via Weebly discussion
boards. At the beginning of camp, they will post their initial thoughts on Graphic Design
prior to any instruction. This will allow the facilitators access to the campers prior
knowledge as well as fellow campers access to their peers thoughts. As the week
progresses, students will post their thoughts and respond to their peers as they learn
more about the principles of graphic design and work towards completing their design
challenge. By the end of the week, campers will be able to show their progression of
knowledge in the field graphic design. The discussion boards are a quick, efficient way
of not only allowing communication and development of ideas, but allowing students to
collaborate in a way that is relevant to the way they process information. Collaboration
in this unit focuses on group problem solving. The students must work together to
design a logo that not only adheres to design principles but more importantly speaks to
the perspective audience.
In order to make technology authentic to the campers, they will need daily access
to IPads to synthesize resources, evaluate the work of other graphic designers, and
create their own innovative design for the Design Challenge. The IPad is a tool that will
allow students to search the Internet, access Blendspace lessons when needed, and
post their responses via the Weebly blog. The Ipad also has a camera that will be
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needed when Images are addressed within the unit. The access to the drawing apps will
allow the designs to blossom from rough hand drawn sketches into professional design
creations. This one powerful tool will allow students access to all of the above resources
in a convenient hand held device. The goal of this unit is to utilize technology in an
authentic way so that students will be engaged but more importantly demonstrate
personal responsibility for lifelong learning (ISTE, 2007).
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CONTENT OUTLINE
I.
Graphic Design
A. Concept of/ Definition of
1. Graphic Design- purposeful planning that uses any combination of forms,
pictures, words, and meanings to achieve ones goal.

2. Everything needs to be designed.
a. Often the best design solutions are born out of necessity.
b. Design is a type of problem solving.
3. Graphic design needs your willing mental participation, even if its
subconscious. Graphic design is purely a head trip, from your eyes to your
mind. Chip Kidd
4. We live in a visual culture. Visual culture is a language and has rules that
make communication possible.
a. Design is related by style trends.
b. Technology also influences design.
5. Good graphic design does four things:
a. It captures attention.
b. It controls the eyes movement across the page or screen.
c. It conveys information.
d. It evokes emotion.
B. History of Graphic Design
1. 15000-10000 BC Cave paintings at Lascaux France.
2. 4000 BC Egyptian hieroglyphics
3. 8th and early 9th Centuries The Book of Kells (Combination of Illustrations
and Words)
4. 1450s The Gutenberg Bible (Movable type printing press)
5. 1530 The Garamond Font (Claude Garamond opened the first type foundry)
6. 1826 First photograph ever taken (Joseph Nicephore Niepce)
7. 1869 NW Ayer and Son (First Advertising Agency)
8. 1886 Logo for Coca-Cola (Rumored to be designed by founder John S
Pemberton)
9. 1900 Arts and Crafts Movement (Unhappy with the poor quality of factorymade goods, artists brought handmade products back.)
10. 1900 to 1914 Art Nouveau Movement (Nature and Organic Forms)
11. 1915 to 1925 Modernism (Reducing objects to most basic colors, lines and
shapes)
12. 1919 Poster for the Bauhaus School of Design (School in Germany which
embraced all of the design disciplines)
13. 1922 WA Dwiggins coined the term Graphic Design
14. 1925 to 1939 Art Deco ( Decorative style)
15. 1940s Saul Bass brings graphic design to the film industry
16. 1940-1949 Heroic Realism ( Focused on contributions to the war effort)
17. 1950-1959 International Style (People valued home and family more than
ever)
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18. 1957 Helvetica Font (Max Miedinger designed one of the most-used typefaces
of all time.)
1956 Paul Rand and Corporate Identity (Most notable work for IBM)
1959 Colorforms logo (Paul Rands clever simple geometric logo)
1960-1969 Swinging Sixties (Fun and Experimentation)
1970-1979 Protest (War and Environmental Issues)
1970 International Typeface Corporation (Herb Lubalin- grandfather of
typography)
24. 1980 to 1989 Postmodern/ New Wave (Rapid Change. Value on Wealth and
Success)
25. 1989 Adobe Photoshop version 1 (No image will ever be trusted again. Chip
Kidd)
26. 1990 to 1999 Deconstruction (Increasing Diversity and Multiculturalism)
27. 2000 to 2010 Digital Age (User-centered design Design is available to
amateurs.)
Principles of Graphic Design
19.
20.
21.
22.
23.
II.
A. Form
1. What things look like.
a. Scale and Ratios (Relevant to size of medium)
b. Top to Bottom and Inversion (Most cultures visual messages are
top to bottom)
c. Left to Right (Most cultures read from left to right.)
d. In front/ back of
e. Focus and Out of Focus
f. Vertical or Horizontal (Lines Imply a sense of elegant stability)
g. Light or Dark
h. Image Quality and Cropping (300 DPI Good; 72 Okay for Web,
bad for Print)
i. Repetition and Pattern
j. Symmetry and Asymmetry
k. Simplicity and Complexity
l. Color Theory (Pantone)
m. Abstract and Literal
n. Positive and Negative Space (Danish psychologist Edgar Rubin
1915)
o. Grid (breaks space or time into regular units)
B. Typography
1. Lettering is an essential part of most graphic design.
2. History of
a. Not everyone seems to agree.
b. Started more than 3000 years ago. Cave paintings of Neolithic
Age.
c. Records of keeping slashes on materials such as bones or logs.
These slashes became the basis for the Roman Numeral.
d. Egyptians started a recording system called hieroglyphics.
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e. China, Mesopotamia, and Greece were also creating written

languages at the same time.
f. Modern English has roots in Old English a blend of German
settlers in Great Britain based on Latin and Old Norse from the
Vikings. So the English alphabet evolved from the Phoenician to
Greek to Roman to Latin to Modern English.
3. Type Styles
a. Serif: the little feet at the end of each letter
b. Sans- serif: No serifs or little feet
c. Italics: slanted letters used for emphasis
d. All Caps: used to get attention
e. Upper and Lowercase: usual way text is set
4. Points and Picas
a. Size of the font is important to typography.
b. Size of letters are measured in picas which are divided into
points.
c. There are 12 points to every pica.
d. Point size is measured from the top of the ascender line to the
bottom of the descender line.
5. Kerning
a. The space between letters.
b. For kerning to look good, it has to be readable.
6. Leading
a. Distanced measured in points between lines of type.
b. From the baseline of one sentence to the baseline of the sentence
directly underneath it.
c. Called leading because of the thin strips of lead or metal on a machine
called a letterpress.
C. Content
1. Form follows function in the equation. (Architect named Louis Sullivan in
1896.Original phrase was Form ever follows function.)

a. Literal to Suggestive (Use imagery to convey concepts)
b. Illusion
c. Metaphor (Something represents something else)
d. Visual Flavor (Concept is defined by the way in which you choose to
interpret)
e. Sincerity and Irony (Use type design to convey concepts)
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LESSON #1
Form follows Function
LESSON
OBJECTIVE
POINT TO PONDER
I. DEFINE OBJECTIVES AND CONTENT

Students will be able to identify the audience and purpose behind a
design in order to establish their own target audience and purpose
for a Design Challenge.
Perspective hinders or helps visual communication.
ESSENTIAL
How does perspective play a role in the world of graphic design?
QUESTION
CONTENT
I. Graphic Design
Outline the content
you will teach in this
1. Graphic Design- purposeful planning that uses any
lesson.
combination of forms, pictures, words, and meanings to
achieve ones goal.
a. Often the best design solutions are born out of
necessity.
3. Graphic design needs your willing mental participation,
even if its subconscious. Graphic design is purely a head
trip, from your eyes to your mind. Chip Kidd
4. We live in a visual culture. Visual culture is a language
and has rules that make communication possible.
b. It controls the eyes movement across the page or
screen.
B. History of Graphic Design
1. 15000-10000 BC Cave paintings at Lascaux France.
2. 4000 BC Egyptian hieroglyphics
3. 8th and early 9th Centuries The Book of Kells
(Combination of Illustrations and Words)
4. 1450s The Gutenberg Bible (Movable type printing press)
5. 1530 The Garamond Font (Claude Garamond opened the
first type foundry)
6. 1826 First photograph ever taken (Joseph Nicephore
Niepce)
7. 1869 NW Ayer and Son (First Advertising Agency)
8. 1886 Logo for Coca-Cola (Rumored to be designed by
Page 23 of 38

founder John S Pemberton)

9. 1900 Arts and Crafts Movement (Unhappy with the poor
quality of factory-made goods, artists brought handmade
products back.)
10. 1900 to 1914 Art Nouveau Movement (Nature and
Organic Forms)
11. 1915 to 1925 Modernism (Reducing objects to most basic
colors, lines and shapes)
12. 1919 Poster for the Bauhaus School of Design (School in
Germany which embraced all of the design disciplines)
13. 1922 WA Dwiggins coined the term Graphic Design
14. 1925 to 1939 Art Deco ( Decorative style)
15. 1940s Saul Bass brings graphic design to the film industry
16. 1940-1949 Heroic Realism ( Focused on contributions to
the war effort)
17. 1950-1959 International Style (People valued home and
family more than ever)
18. 1957 Helvetica Font (Max Miedinger designed one of the
most-used typefaces of all time.)
19. 1956 Paul Rand and Corporate Identity (Most notable
work for IBM)
20. 1959 Colorforms logo (Paul Rands clever simple
geometric logo)
21. 1960-1969 Swinging Sixties (Fun and Experimentation)
22. 1970-1979 Protest (War and Environmental Issues)
23. 1970 International Typeface Corporation (Herb Lubalingrandfather of typography)
24. 1980 to 1989 Postmodern/ New Wave (Rapid Change.
Value on Wealth and Success)
25. 1989 Adobe Photoshop version 1 (No image will ever be
trusted again. Chip Kidd)
26. 1990 to 1999 Deconstruction (Increasing Diversity and
Multiculturalism)
27. 2000 to 2010 Digital Age (User-centered design Design
is available to amateurs.)
II. PRE-PLANNING
What will students Students will be able to understand that in graphic design form
UNDERSTAND as afollows function. Graphic designers adhere to four guiding
principles: capture attention, control the eyes movement across the
result of this
lesson? How does page, convey information, and evoke emotion. Students will begin
to formulate a working definition of graphic design and how it
this connect to
relates to the camp theme of perspective. Students will begin to
the Essential
understand that graphic design has evolved over time and
Question?
technology has aided in bringing design into the home. They will
grasp how designs need to be personal in terms of audience
Page 24 of 38

appeal. They will recognize for their design challenge to succeed

they must first relate to their desired audience and develop a
working concept of the perspective of their target audience. If
students do not understand the perspective of their audience, they
will not be able to capture the audiences attention much less evoke
emotion with their design.
Students will begin to define graphic design and appreciate how
perspective plays a vital role in design. Students will be able to
utilize the four guiding principles to critique the designs of others
What will students including the current AIG logo. Students will be familiar with the
be able to DO as a history of Graphic Design and be able to identify the major events
result of this
that shaped the world of design today. Students will be able to
design a personal logo around the first letter in their name giving
lesson?
them their first, hands-on experience with the four guiding
principles. Students will be able to identify the audience and
purpose of their Design Challenge.
III. PLANNING
HOOK
TIME: Fifteen Minutes
Describe how you Teacher informs students that they will be watching a video that
will grab students speaks to the content of the unit as well as the theme of the camp.
attention at the
They should pay close attention to what is being said as well as the
beginning of the
message that is being portrayed. Watch video
lesson.
http://www.youtube.com/watch?v=TJ1SDXbij8Y
BE CREATIVE.
This video was made by Apple and addresses perspective.
Begin discussion of what is graphic design and how it relates to
camp theme of perspective. (Guiding questions: What does
perspective mean? How do you think the makers of the video would
define perspective? Can you back up your statement with details
from the video? Based off your current knowledge of graphic design,
what role does perspective play in graphic design? Can you
elaborate or give examples? Why do you think perspective matters
when trying to capture someones attention, convey information, or
evoke emotion? Does perspective help or hinder communication?
Can you elaborate or give examples?)
Login into Weebly discussion boards. Reply to prompt Whether
you realize it or not, most of the decisions you make, every day, are
by design. What does Chip Kidd mean by this statement? What is
graphic design? This should be a gut response with no prior
discussion or research. (Days one, two, and three will follow the
initial response of the STAR legacy model. Day three will allow for
classmate responses and wrap up of knowledge gained.)
INSTRUCTION
Explain Step-bystep what you will
TIME: Fifty Minutes (Broken into ten minutes per activity.)

After the hook, students will be placed into groups. The teachers will
Page 25 of 38

do in this lesson.
model with a design how to evaluate using the four guiding
Be explicit about principles. Each group will be given a different design and asked to
ties to Points to critique the design using the same four principles. Students will
Ponder, Essential share with the class their assessment of the design. Teachers will
facilitate discussion to see if anyone else has a different perspective.
Question, and
Interactions here. It is important in lesson one to keep going back to the theme of
Include ALL support perspective and its role in graphic design.
and teaching
materials with your Students will watch https://www.youtube.com/watch?
v=sTi5SNgxE3U and use the 3-2-1 strategy to discuss three new
unit.
facts they learned, two ah-has they had, and one question they still
have about graphic design. The teachers will strategically stop the
video as it shifts focus to allow students to fill in their 3-2-1 sheets.
Guiding Questions: What are the different fields of design? Did you
realize that was graphic design? Why would that be important? Was
anything left out of the video? What? Students will post these on a
class visual made from butcher paper and post it notes to serve as a
working definition that will evolve over the week of inquiry.
Students will be given pieces of the History of Graphic Design from
our content outline of the major events in design. With small groups,
they will try to put the events in the correct order without dates to
guide them. After students have had time to discuss where they
think the pieces fit, the teacher will guide them in gluing down the
pieces and adding the dates on a big piece of butcher paper to
create a visual timeline for our class for the week. The teacher will
make sure to highlight the events and people that played a crucial
role in the world of design. Students will gain a working
understanding of how graphic design has evolved and will continue
to evolve as people and technology change.
Teachers will share Chip Kidds Oh! But What Exactly Is A Logo?
Activity. As the teacher explains the girl named Louise who likes to
rollerblade, students will create their own personal letter logo.
Therefore Louise uses the letter L with wheels underneath to make
her L look like she is roller blading. Students must understand the
importance of conveying information about themselves through this
simple but powerful design. Logos must be simple yet imaginative.
They must capture attention, control the eyes movement, convey
information, and evoke emotion. Great logos master all four
principles because the designer has a firm understanding of the
perspective of their target audience.
Each day we will highlight a different designer for their unique
contributions to the field of Graphic Design. We will be utilizing our
trifold boards for these highlights. The boards will contain various
Page 26 of 38

facts, biographical information, and design by each designer. The

boards will be interactive in design. Day one spotlight: Saul Bass.
Students will begin the Design Challenge. Day one starts with a
critique of the current AIG logo in regards to the principles of design.
Students need to synthesize what they have learned about the four
principles to begin to develop ideas for a logo that will speak to the
unique perspective of being a gifted adolescent. Students will be
using a variety of tools like www.aviary.com, Google Drawing,
various drawing apps, various font websites, and other resources
located on the Weebly website. Teachers will facilitate by
encouraging the students to play with the tools daily so that they
become experienced as the week progresses. (See Design
Directions and Rubric embedded in Blendspace Day One link.
https://www.blendspace.com/lessons/N7XS5A1QL8KZXA/what-isgraphic-design)
ASSESSMENT
TIME: Five Minutes for Blendspace Quiz (Other assessments
(Performance Task) completed during Instruction Block.)
What will the
students DO to
Logo Creation: Students will share their letter logos and be able to
demonstrate that convey their personal perspective behind the design. (Teachers will
they have mastered be making sure they understand that the letter should convey
the content? Be
information about the student to the class through their design.)
specific and include
actual assessment Blendspace Quiz to check for understanding of important concepts
with unit materials. shared during day one. (Form follows function and four guiding
principles of design.)
Checklist and Rubric for Design Challenge: Day one is to establish
that students understand the four guiding principles in regards to
design. They should be able to critique the current AIG logo using
those principles so that they will be able to begin identifying how
they will use their own perspective on being gifted to make a new
AIG logo for the Design Challenge.
DOES THE ASSESSMENT ALLOW YOU TO DETERMINE WHETHER OR NOT THE
STUDENTS HAVE MET YOUR STATED LESSON OBJECTIVE? YES OR NO
ASSESSMENT AND INSTRUCTIONAL MATERIALS
https://www.blendspace.com/lessons/N7XS5A1QL8KZXA/what-is-graphic-design
All materials including the Design Challenge Directions and Rubric are
embedded in the Blendspace except for the Chip Kidd activity and
Page 27 of 38

discussion posts via Weebly website. (Please see Weebly link at top of
unit.)
Publishing.
Activity page 138-143 Design Project #7 Create Your Own Visual
Identity
LESSON #2
Typography: The Art of the Written Word
LESSON
OBJECTIVE

Students will be able to incorporate the four guiding principles of
design and typography techniques in order to create a thunder
storm of brain activity for their Design Challenge: AIG logo.
POINT TO PONDER How you say something is more important than what you say.
ESSENTIAL
How can words be manipulated to evoke emotion?
QUESTION
CONTENT
B. Typography
Outline the content
1. Lettering is an essential part of most graphic design.
2. History of
lesson.
a. Not everyone seems to agree.
b. Started more than 3000 years ago. Cave paintings of
Neolithic Age.
c. Records of keeping slashes on materials such as bones or
logs. These slashes became the basis for the Roman
Numeral.
d. Egyptians started a recording system called hieroglyphics.
e. China, Mesopotamia, and Greece were also creating
written languages at the same time.
f. Modern English has roots in Old English a blend of
German settlers in Great Britain based on Latin and Old
Norse from the Vikings. So the English alphabet evolved
from the Phoenician to Greek to Roman to Latin to
Modern English.
3. Type Styles
a. Serif: the little feet at the end of each letter
b. Sans- serif: No serifs or little feet
c. Italics: slanted letters used for emphasis
d. All Caps: used to get attention
e. Upper and Lowercase: usual way text is set
4. Points and Picas
a. Size of the font is important to typography.
b. Size of letters are measured in picas which are divided
Page 28 of 38

into points.
c. There are 12 points to every pica.
d. Point size is measured from the top of the ascender line to
the bottom of the descender line.
5. Kerning
a. The space between letters.
b. For kerning to look good, it has to be readable.
6. Leading
a. Distanced measured in points between lines of type.
b. From the baseline of one sentence to the baseline of the
sentence directly underneath it.
c. Called leading because of the thin strips of lead or metal
on a machine called a letterpress.
II. PRE-PLANNING
Students will understand that typography is a vast study within the
world of graphic design. Typography is an essential part of most
What will students
graphic design and in some cases the only part of the design. What
UNDERSTAND as a
letters look like can be just as important as what they say. Students
result of this
understand type styles like serif and sans-serif as well as
lesson? How does
terminology like points, picas, kerning, and leading. To better
this connect to
understand typography, students also need to appreciate the
the Essential
chronology of typography as an entity within itself. Most importantly,
Question?
students will grasp the concept of how words can evoke emotion by
what they say and by careful design how they say it.
The students will be able to explain why certain fonts draw or
capture their attention based off their personal perspective.
Students will be able to show their understanding of the history of
What will students
typography and why certain people and events help to create the
be able to DO as a
field of typography that is present today. They will also be able to
result of this
manipulate words by drawing them using the concepts of sincerity
lesson?
and irony. Students will dive into their Design Challenge by
incorporating the four guiding principles and typography elements
within their logo creation process.
III. PLANNING
HOOK
TIME: Ten Minutes
Describe how you
will grab students Login into Weebly discussion boards. Reply to prompt El Littisky
attention at the
once said Typographical design should perform optically what the
beginning of the
speaker creates through voice and gesture of his thoughts. What
lesson.
does that mean to you? What is typography and how does it relate
BE CREATIVE.
to graphic design and perspective? This should be a gut response
with no prior discussion or research. (Days one, two, and three will
follow the initial response of the STAR legacy model. Day three will
allow for classmate responses and wrap up of knowledge gained.)
Page 29 of 38

Which Font Represents Me? Have Chip Kidds activity from pages
78-79 copied for students. The two pages have multiple font
versions of ME. They must pick a font that speaks to them. They
will share the font they choose and why they chose it with the class.
Discussion will lead into the importance of typography to graphic
design and cycle back to how different perspectives led to attraction
to different fonts.
INSTRUCTION
TIME: Fifty Minutes (Specific Time will follow activities.)
Explain Step-bystep what you will After the hook, students will watch a short video on the history of
do in this lesson.
typography. https://www.youtube.com/watch?v=wOgIkxAfJsk The
Be explicit about video captures the major people and events in the history of
ties to Points to typography and how it has evolved alongside graphic design.
Ponder, Essential Students will be captivated by the use of the type and playful nature
of the video to compact a vast history into a short segment that
Question, and
Interactions here. showcases the importance of typography to our unit of study. This
Include ALL support will lead the class into a discussion of important terminology in
regards to typography. The teacher will use Blendspace and a
and teaching
materials with your visual tri-fold board to explain concepts such as points, picas,
leading, kerning, serif, ascender, . . . (Fifteen Minutes)
unit.
Students will then put theory to practice using Chip Kidds lesson on
the Use of Type Design to Convey Concepts: Sincerity and Irony.
The teachers will allow students to pick a word from the fishbowl to
design using the concept of Sincerity. For example, the word slime
from the Blendspace lesson would be drawn looking slimy. Then the
students will have to take the same word and draw it ironically. If
they are stumped, teachers will facilitate the process by guiding their
thinking. The example of filthy and clean will be modeled for them
beforehand to help with their understanding of what the assignment
is asking of them. The students will share their design and point out
how their perspective shaped their design and what emotion they
were trying to evoke. Teachers will guide the discussion to
showcase that the words chosen have different cultural and
historical perspectives and the importance of designers
understanding the perspective of their target audience. (Twenty
Minutes)
boards will be interactive in design. Day two spotlight: Chip Kidd.
Page 30 of 38

Students will continue the Design Challenge. Day two starts with a
design brief that really makes the students consider the purpose,
audience, and format for the Design Challenge. Once they
understand their purpose and audience they can begin to synthesize
the guiding principles of design and elements of typography with
their personal perspective on being gifted to create a logo that will
evoke emotion in their target audience. (See Design Directions and
Rubric embedded in Blendspace Day Two link.) (Twenty Minutes)
ASSESSMENT
TIME: Five Minutes for Blendspace Quiz (Other assessments
(Performance Task) completed during Instruction Block.)
What will the
students DO to
Sincerity and Irony Activity: Students will share their word creations
demonstrate that and be able to convey their personal perspective behind the design.
they have mastered (Teachers will be making sure that students understand that they
the content? Be
used their personal perspective with the words, but that the words
specific and include have different connotations and historical contexts and would
actual assessment therefore evoke different emotions based on each persons personal
with unit materials. perspective.)
Blendspace Quiz to check for understanding of important concepts
shared during day two. (Typography terminology.)
Checklist and Rubric for Design Challenge: Day two will focus on the
brainstorm process by incorporating the four guiding principles of
design and elements of typography into the creation of their AIG
logo. They should really think about what emotion they are trying
evoke and how they will use typography to evoke that emotion from
their target audience.
https://www.blendspace.com/lessons/bEpERM93GzUJqw/typography
embedded in the Blendspace except for the Chip Kidd activity and
discussion posts via Weebly website. (Please see Weebly link at top of
unit.)
Publishing.
Page 31 of 38

Activity pages 78-79 Which font on the following two pages feels like
you?
Activity pages 116-117 Use type design to convey concepts: sincerity
and irony
LESSON #3
Picture This: How Pictures Work
LESSON
OBJECTIVE
POINT TO PONDER

Students will be able to incorporate the four guiding principles of
design while influencing images to create a certain perspective in
their Design Challenge: AIG logo sketch.
Everything we see is perspective, not the truth.
ESSENTIAL
How do images influence our views of the world?
QUESTION
CONTENT
A. Form
Outline the content
1. What things look like.
a. Scale and Ratios (Relevant to size of medium)
lesson.
b. Top to Bottom and Inversion (Most cultures visual
messages are top to bottom)
c. Left to Right (Most cultures read from left to right.)
d. In front/ back of
e. Focus and Out of Focus
f. Vertical or Horizontal (Lines Imply a sense of elegant
stability)
g. Light or Dark
h. Image Quality and Cropping (300 DPI Good; 72 Okay for
Web, bad for Print)
i. Repetition and Pattern
j. Symmetry and Asymmetry
k. Simplicity and Complexity
l. Color Theory (Pantone)
m. Abstract and Literal
II. PRE-PLANNING
What will
Students will understand that designers use all kinds of mediums in
terms of images in their design. Designers can use geometric
students
UNDERSTAND as shapes, hand drawn portraits, and computer generated visuals to
name just a few. Technology has greatly advanced the ability of
a result of this
lesson? How does designers in terms of visuals. However, with that advancement also
comes the ability to manipulate or distort images. Different images
this connect to
evoke different emotions depending on ones unique perspective. It
the Essential
is the responsibility of the designer to understand the target
Question?
audience well enough to convey the intended information as well as
Page 32 of 38

evoke the expected emotion with their visual images.

Students will be able to use Colorform geometric shapes to create a
pictures. Students will also apply the principles of Molly Bang to
create what it is like being AIG in a regular classroom. Once they
What will
understand how pictures work, they will apply that knowledge to
students be able
their Design Challenge. It is time for them to take their brainstorm
to DO as a result
ideas and begin to sketch out an AIG logo. They may want to start
of this lesson?
on paper or use the Colorform geometric shapes or start designing
with the drawing app on the IPad. Most students will be ready to
dive into the computer resources via our Weebly website.
III. PLANNING
HOOK
Describe how
you will grab
Login into Weebly discussion boards. Reply to prompt Everything we
students
see is perspective, not the truth. What does this quote by Marcus
attention at the Aurelius mean to you? If this quote is correct, how will perspective play
beginning of the a role in the image(s) you create for your logo design? This should be a
lesson.
gut response with no prior discussion or research. (Days one, two, and
BE CREATIVE. three will follow the initial response of the STAR legacy model. Day
three will allow for classmate responses and wrap up of knowledge
gained.)
Students will be given geometric Colorforms and asked to create a
picture from the shapes on their desks. This activity may be frustrating
to some of the students because the materials are very abstract.
However, learning sometimes require struggle and will give them
motivation to listen carefully to the Molly Bang presentation to learn how
to manipulate shapes into creations. After reading Molly Bangs book
during class, students will have a better grasp on how to create images
with geometric shapes.
INSTRUCTION TIME: Fifty Minutes (Twenty-five Minutes for Molly Bang Activity and
Explain Step-by- Twenty-five Minutes for the Design Challenge.)
step what you
will do in this
After the hook, most students may be frustrated by trying to create an
lesson. Be
image from mere geometric shapes with little think time. The Molly Bang
explicit about Picture This: How Pictures Work activity will guide the students through
ties to Points the process of using simple images to create emotion while teaching
the concepts of visuals in design. See presentation:
to Ponder,
http://johnsonsr.spps.org/uploads/molly_bang_how_pictures_work.pdfAt
Essential
Question, and the end of the activity, students will work with a team of students to
create an image of what it is like being gifted in a regular education
Interactions
here. Include classroom. The teachers will also direct the students to a plethora of
ALL support and resources housed within a Blendspace link on the Weebly website on
what it means to be gifted.
teaching
materials with https://www.blendspace.com/lessons/q9EoLjuWGDVM1A/what-does-it-
Page 33 of 38

your unit.
mean-to-be-gifted These resources are vital in helping them understand

and therefore reach their target audience. Each group will share their
image to show how their perspectives within their groups contributed to
very different images amongst the groups.
trifold boards for these highlights. The boards will contain various facts,
biographical information, and design by each designer. The boards will
be interactive in design. Day three spotlight: Paul Rand.
Students will continue the Design Challenge. Day three propels the
students into the design by taking their brainstorm ideas from day two
from imagination to reality via their sketches. Once they understand that
images must convey information as well as evoke emotion, they should
be able to tweak their ideas from their brainstorm to ensure that the
logos they are creating will meet their purpose of capturing the
perspective of being a gifted adolescent. To help them develop their
concept of giftedness we have created a Blendspace with resources to
help. https://www.blendspace.com/lessons/q9EoLjuWGDVM1A/whatdoes-it-mean-to-be-gifted (See Design Directions and Rubric embedded
in Blendspace Day Three link.)
ASSESSMENT TIME: Five Minutes (Molly Bang Assessment Only.)

(Performance
Task) What will Molly Bang Activity: Students will share their images and be able to
the students DO convey their personal perspective behind the design. (Teachers will be
to demonstrate making sure that students understand that they used their personal
that they have perspective to create their images, but those same images may evoke
mastered the
different emotions based on each persons personal perspective. It is
content? Be
the designers job to know their audience well enough so that their
specific and
images create the intended emotion as well as convey the correct
include actual information.)
assessment with
unit materials. Checklist and Rubric for Design Challenge: Day three will begin the
sketching process utilizing the four guiding principles of design and
intentional image design into the creation of their AIG logo. They should
really think about what information they are trying convey as well as
what emotion they are trying evoke from their target audience.
Page 34 of 38

https://www.blendspace.com/lessons/XmFkGDCAA3jpDw/visuals
https://www.blendspace.com/lessons/q9EoLjuWGDVM1A/what-does-it-mean-to-begifted
embedded in the Blendspace even the Molly Bang activity. The discussion
posts can be accessed via Weebly website. (Please see Weebly link at top of
unit.)
Bang, M. (2000). Picture this: How pictures work. New York, NY: Sea Star
Books.
LESSON #4
White Space is Not Your Enemy
Students will be able to create an AIG logo by synthesizing what
they have learned about typography, visuals, and spacing while at
LESSON
the same time utilizing a strong command of the four guiding
OBJECTIVE
principles of design that will entice their target audience for their
Design Challenge.
The ability to simplify means to eliminate the unnecessary so that
POINT TO PONDER
the necessary may speak. Hans Hofmann
ESSENTIAL
Where is the line between enough information and information
QUESTION
overload? More specifically when is a design too much to process?
CONTENT
I. Graphic Design
Outline the content
1. Graphic Design- purposeful planning that uses any
lesson.
combination of forms, pictures, words, and meanings to
achieve ones goal.
a. Often the best design solutions are born out of necessity.
3. Graphic design needs your willing mental participation,
even if its subconscious. Graphic design is purely a head
trip, from your eyes to your mind. Chip Kidd
4. We live in a visual culture. Visual culture is a language
and has rules that make communication possible.
b. It controls the eyes movement across the page
Page 35 of 38

screen.
II. PRE-PLANNING
Students will understand that in design less can be more. If a
design is overly complicated, the information it is meant to convey
What will students
might be missed by the target audience. When designing, it is
UNDERSTAND as a
important to understand the concept of positive and negative space.
result of this
Negative space is not a bad thing. Many designs like Fed Ex make
lesson? How does
clever use of negative space. Some artists like Matisse play with
this connect to
their designs until they get the perfect balance of positive and
the Essential
negative space. Students will need to understand that the
Question?
typography, images, and spacing all work together to create a
successful design.
Students will be able to create paper cutouts like Matisse that
employ balance between positive and negative space. They will
What will students
create a prototype AIG logo utilizing web-based programs, drawing
be able to DO as a
apps. They will then critique and revise the design using the Design
result of this
Challenge rubric provided for them. They should make sure the
lesson?
design utilizes the four guiding principles and encompasses the
perspective of a gifted adolescent.
III. PLANNING
HOOK
Describe how you
will grab students Login into Weebly discussion boards. First students will read their
attention at the
classmates posts from days one, two, and three and pick a response
beginning of the
in which to elaborate. The teachers will instruct the students to make
lesson.
sure they specifically address part of the response in their comment.
BE CREATIVE.
Rules of discussion board decorum will be addressed prior to
students commenting. Teachers will have posted example responses
as a model for appropriate dialogue in advance.
Students will be shown Rubins Vase as a way to view positive and
negative space. Also the Fed-Ex logo will be displayed to see if
anyone can see the arrow formed in the negative space of the
lettering. Various other designs will be shown to continue the
discussion of how to utilize positive and negative space in the most
effective manner. Teachers will begin discussing the importance of
finding balance within their design. If the design is too complicated,
the information that was meant to be conveyed may be lost.
INSTRUCTION
Explain Step-bystep what you will
do in this lesson.
TIME: Forty Minutes (Specific times will follow assignments.)

After the activity and discussion of positive and negative space,
teachers will introduce the art of Henry Matisse in his later life. They
Page 36 of 38

Be explicit about will share how Matisse used cut outs to create art once he was
ties to Points to confined to a wheelchair. They will discuss with the class his use of
Ponder, Essential positive and negative space in his designs via his online gallery and
then the students will create a Matisse inspired collage. The
Question, and
Interactions here. teachers will have shapes and objects that have been pre-cut to
Include ALL support save time. The groups will work together to really comprehend how
Matisse used his apprentices to help him make his art effectively
and teaching
materials with your utilize space. (Ten Minutes)
unit.
boards will be interactive in design. Day four spotlight: Jony Ive.
Students will then synthesize what they have learned about
typography, images, and spacing to create a prototype AIG logo via
web based resources like drawing apps. The students will need to
work closely with their group to critique the design with the rubric
provided to ensure all guiding principles are supported by their
design. Each group will self-assess their logo, a peer assessment
will be given by other members of the class, and teacher
assessment all utilizing the same rubric. The final score will be
calculated using all three scores for an overall average. The highest
average will be deemed the winner of the Design Challenge with
bragging rights. (Twenty Minutes plus Second Session of Day Four)
Students will login to the Weebly discussion boards one last time for
a wrap up discussion post. They will respond to the post Chip Kidd
said that Graphic design needs your willing mental participation,
even if its subconscious. Graphic design is purely a head trip, from
your eyes to your mind. What do you think that means? What does
it have to do with perspective? What would you say a graphic
designer does? (Five to Ten Minutes)
TIME: Fifteen Minutes (Design Challenge Only)
ASSESSMENT
(Performance Task)
What will the
Matisse Cut Out Assignment: Teachers will have students share their
students DO to
design and have students explain what space is positive and what
demonstrate that space is negative. As a group, we will talk about examples that seem
they have mastered to have found an enticing balance between the two.
the content? Be
specific and include Discussion Posts: Teachers will monitor the before instruction posts
actual assessment to gauge prior knowledge. The peer responses and wrap up posts
with unit materials. should show growth of understanding of the concepts at the core of
graphic design.
Page 37 of 38

Checklist and Rubric for Design Challenge: Day four will be the
culmination of instituting what they have learned about typography,
visuals, and spacing to create a unified design that incorporates the
four guiding principles successfully. The Design Challenge will
require them to create their prototype using drawing apps and font
builders. Then the students will need to revise their designs using
the provided rubric as a guide. The logos will be assessed by the
members of the group, members of other groups, and the teachers.
The highest overall average will win the Design Challenge and
bragging rights. All designs will be posted on Weebly website. The
winner will be posted in a special winners spotlight.

https://www.blendspace.com/lessons/fVmpTvt8X0wM7Q/space
embedded in the Blendspace. The discussion posts can be accessed via
Weebly website. (Please see Weebly link at top of unit.)
Page 38 of 38

AIG Graphic Design Unit McDaniel and Slye

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Logo Logistics: Discovering the World of Graphic Design

Lesson #1 Form Follows Function

How does art or graphic design communicate the human experience?

Elizabeth McDaniel and Julie Slye

CONTENT RESEARCH PAPER

Logo Logistics: Discovering the World of Graphic Design

Graphic design, also known as communication design is the art of

Logo Logistics: Discovering the World of Graphic Design

Most of his business, at the time, focused on securing advertisements for

Logo Logistics: Discovering the World of Graphic Design

Philadelphia Museum of School of Industrial Art. After witnessing one of his

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

web designers and, of course, teachers (M Grassell, personal communication,

Logo Logistics: Discovering the World of Graphic Design

conjunction with Adobe Illustrator, InDesign, Photoshop, AfterEffects,

Logo Logistics: Discovering the World of Graphic Design

Henderson, K. (2012). 20 graphic designers you should know. Retrieved from

Mary Grassell is a Graphic Design expert. Currently she works for

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

Airey, D. (2010). Logo design love: A guide to creating iconic brand

Logo Logistics: Discovering the World of Graphic Design

This website includes an introduction to graphic design that appeals to

Mendizabal, A. (2014) HT inspires. Retrieved from www.htinspire.com

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

CONNECTION TO THE THEME

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

pictures, words, and meanings to achieve ones goal.

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

e. China, Mesopotamia, and Greece were also creating written

1896.Original phrase was Form ever follows function.)

Logo Logistics: Discovering the World of Graphic Design

I. DEFINE OBJECTIVES AND CONTENT

Logo Logistics: Discovering the World of Graphic Design

founder John S Pemberton)

Logo Logistics: Discovering the World of Graphic Design

appeal. They will recognize for their design challenge to succeed

TIME: Fifty Minutes (Broken into ten minutes per activity.)

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

facts, biographical information, and design by each designer. The

Logo Logistics: Discovering the World of Graphic Design

I. DEFINE OBJECTIVES AND CONTENT

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design

I. DEFINE OBJECTIVES AND CONTENT

Logo Logistics: Discovering the World of Graphic Design

evoke the expected emotion with their visual images.

Logo Logistics: Discovering the World of Graphic Design

mean-to-be-gifted These resources are vital in helping them understand

ASSESSMENT TIME: Five Minutes (Molly Bang Assessment Only.)

Logo Logistics: Discovering the World of Graphic Design

Logo Logistics: Discovering the World of Graphic Design