Graphic Design SCHEME

Scheme:
Visual Communication, GRAPHIC DESIGN A3 TYPOGRAPHICAL POSTER DESIGN with construction, photography and monochromatic as the design base
Lessons:			School:
Number of Lessons: 12 Total Time: 10 hours 40 mins 2x single (40 mins) and 1x double (80 mins) per week over 4 weeks. 160 mins x 4 weeks = 10 hours 40 mins			St. Clements College   Limerick   Group: 2nd Year     24 Boys
Aims:
To help students to: ·         Cultivate and create physical methods to alter typography into an innovative from to visualise a concept, adapting and rearranging paper letterforms to visualise a logical typographical optical viewpoint. ·         Experimental making and visual research as part of a group, working to solve a design brief. ·         Render re-composed/distorted/altered typography via traditional skills without the aid of computers, developing familiarity and confidence and accuracy in the use of graphic materials, for example, various paper stock, graphic markers, tracing papers, adhesives etc. ·         Complete Poster incorporating Typography and event info into an aesthetical monochromatic design.
Overall Learning Outcomes:
On completion, pupils should be able to: ·         Develop innovative methods to construct and photography to visualise morphed, distorted or altered typography without the aid of computers. ·         Experimental group activity and research to resolve a brief through a variety of methods not typically associated with Graphic Design; a sculptural approach to physically making and staging  of typography then translating that staging to a poster format. ·         Considered isolation of varying tones of colour to visually translate three dimensional aspects of an object into a two dimensional format. ·         Accomplished final typographical poster design which communicates information well.
Investigation/ Exploring/Creating (include illustrations, especially own artwork):
·         Experimenting with Typography through more traditional means rather than digital, computer generated methods. ·         Cut letterforms from paper, card or other material and re-arrange to form a typographically descriptive visual to communicate meaning. Type style can be quite simple and clean (serif or sans serif typefaces such a Helvetica or Times New Roman), instead the visual effect coming from dramatic treatment of the lettering. ·         Construct a three dimensional setting or ‘staging’ for lettering, photographing typography from a variety of angles until an interesting and aesthetic layout is achieved. Use a variety of existing architectural surfaces within the school environment to act as a base or backdrop for the type, for example, steps of a stair to drape type down so that the lettering follows the contour   INVESTIGATE, EXPLORE & CREATE:                 of the stair. By photograph the lettering in situ from a variety of angles, a rich visual resource is created to                        facilitate fine tuning the design. ·         Develop skills in layout, precision and accuracy by utilising monochromatic papers, precisely cutting and re- constructing the visual. CONTEXTUAL STUDIES:      Methodologies underpinning the concept of type and image fusion in graphic design worthy of consideration and particularly relevant to contemporary secondary level students of Art Craft & Design. “Fusion is one of the most ambitious ways to merge type and image. For fusion to be successful, the interrelationship between the type and image must be honest coherent and credible. Forming such a convincing alliance requires both imagination and ingenuity.” (Skolos & Wedell, 2006, p. 66) A work methodology which illustrates this practice of type and image fusion superbly is to be found in the graphic artwork of Philippe Apeloig. His 1987 poster for “Chicago”, an exhibition of architecture from that city at the Musée d’Orsay, skilfully demonstrates a three dimensional approach to typographical manipulation in a space which is then translated to a two dimensional format.  Apeloig set out large letterforms on card then adjusted the position and angle of the card until “a logical optical viewpoint” was achieved.   This sculptural, structural and mixed media approach to typography will enhance abilities to manipulate and adapt materials to attain an innovative visual graphic where the quality of the design is not solely reliant on computer creation The graphic design methodology of 1980’s was very much one of creative assembly, utilizing established graphic materials such as paper, ink, adhesives and markers to craft our concepts into three dimensional visuals for critique. Consider methods of how to communicate altered or distorted typography without the aid of computers; for example, how to realistically depict text which is curved or in perspective or along the folds of fabric, and so on.
Use of Digital Media:
● Video of students experimenting with letterforms in the school environment. ● In-class Photocopier and OHP utilised to enlarge and make experimentation layouts
Teaching/Learning strategies:
● Work outside classroom ‘on location’ with lettering giving students a richer, realistic understanding of type distortion. ● Video and photography of test letters on location, again to visually depict students’ concepts. ● Encourage students to set up and photograph their own typography set-ups.
Literacy:		Numeracy:
●Terminology and introduce new vocabulary and understanding of vocabulary in the context of design, for example The poster will be Monochrome in colour palette  ● Each poster has a source word, Students write down a broad range of meanings for the one word thus enabling them to develop a more interesting concept for their poster, for example, COMPRESS: condense, squash, reduce, compact, …		● Construct a setting for their type, using the school environment to aid the visual description of their word. ● Considered accuracy in cutting paper and re-constructing their 2D poster.
Differentiation:
● Group work initially, where students can learn together to make paper letters and photograph them in situ. ● Students will move from a group scenario to individual poster work while still remaining part of the group thus retaining support from the group while developing individual designs. ● One learning/behavioural issue identified in this group as well as two to three challenging behaviour (low scale). Four students whose main language is not English, two students using a digital translator during class.
Materials:                       Resources
●A2 and A3 White Cartridge ●A3 Colour card Black, White and Greys ● Scissors and scalpels	In-Class Photo copier Digital camera
Safety Precautions:
● Scissors and cutting knives in use when cutting card to make 2D designs. Cutting knives to be used at cutting     mats at top table and only while student is seated. Blue book rule (in-class safety book for cutting) applies.
Timeline/Sequence of Lessons:total time:  10 hours 40 mins
week 1 Lesson 1 (single 40 mins):   Introduce scheme, divide into groups and set source words.    Lesson 2 (double 80 mins): Make sample letter from paper and video/photograph in situ to gain a sense of 3d form. Lesson 3 (single 40 mins):   Review, through video, students letters in monochrome. Discuss concepts with students. week 2 Lesson 4 (single 40 mins):   Develop A4 layout of Poster- event, time date etc. Select typeface/type style serif, sans serif. Lesson 5 (double 80 mins): Trace letters on paper and enlarge on photocopier/OHP to make letter model   for staging.                           Lesson 6 (single 40 mins):    Identify areas inside and outside classroom and begin staging/photographing. week 3 Lesson 7 (single 40 mins):   Begin making A3 posters for photocopied enlarged photographs of letterforms. Lesson 8 (double 80 mins):  Continue making poster addressing design issues as they arise. Lesson 9 (single 40 mins):    Continue making poster addressing design issues as they arise. week 4 Lesson 10 (single 40 mins):  Finish posters today. Lesson 11 (double 80 mins): Exhibition of our posters Lesson 12 (single 40 mins):    Recall project discuss difficulties and how they were overcome, reward for completion. (video)
assessment rubric:
GROUP WORK Peer  collaboration, co-operation  and negotiate,  work together to develop a staging that all can use 25 MARKS MAKING AND PHOTOGRAPHING Making drawings developing thumbnails and concepts and enthusiastic engagement with photography.                25 MARKS MATERIAL MANIPULATION, Refinement of design, accuracy and care decision making, negotiation, construction                                          25 MARKS FINAL POSTER DESIGN Overall layout of poster, use of a balanced mix of tones, Clear message good typographical treatment.                                                                                                              25 MARKS 17-20 Superior understanding and involvement with staging/ set up of letterforms. Positive engagement and collaboration with peers  . 17-20 Strong evidence of planning, drawing and design developing  concepts through photography and layouts. 17-20 Exceptional evidence of quality experimentation and manipulation of materials to visualize design concept 17-20 Well considered concept and construction of poster. Strong visual culmination of refined/revised 16-12 Sound use of knowledge broadly engaging with  peers in terms of collaboration and sharing. Competent demonstration and evidence of making letterform  and photographing in situ 16-12 Solid evidence of experimentation and manipulation of materials. Good evidence refinement of  design. 16-12 Sound creation of poster  in terms of construction, awareness of good visual communication. 11-7.Some evidence of understanding of project  aim with average collaboration, sharing and engagement with peers Average evidence of understanding of the concept of Nominal evidence of 11-7 Adequate evidence of experimentation with materials, passable indication of concept/design refinement. 11-7 Reasonably competent effort to respond to the brief to visually depict kinetic energy through construction of a 3D Sculpture. 0-7 Insufficient evidence of project aims. Collaboration and co-operation within a peer group infrequent/non-existent. 0-7 Inadequate making of letterforms or photography in situ, poor engagement. 0-7 Poor/minimal evidence of experimentation with materials, little or no evidence of drive to develop design. 0-7 Inability to make/complete a poster Lack of commitment to project.
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