Create a Slick Business Card Design with Stunning Typography

Whatever profession you’re in, there’ll come a time when you’ll need your own business card. This graphic design tutorial will show you a way to create a standard two-sided business card design in Adobe Photoshop that you can take to your printer.

Your task is to complete the tutorial and create your business card and letter head Due date: TBA

Tutorial:

sixrevisions.com/tutorials/photoshop-tutorials/create-a-slick-business-card-design-with-stunning-typography/

Graphic Design Rubric

Yearbook Cover Design Assignment-Due date Oct 19th

Creating the cover of your yearbook will be one of the most important jobs you take on during the year. After all, the cover will almost always be the first element of the book that readers will see.

Whether you work with one of the designers from Herff Jones Creative Services Department on a custom cover or you design the cover yourself, you will need ideas. Which is where the Cover Gallery comes in. Scroll through and take a look at some of the covers that were created last year.

Final due date: Your task is to complete a Yearbook Cover design by Tuesday Oct 19th. Class presentation and critique 10%.

Requirements:

• Theme or Concept: must come up with either one and present it to the class bu Oct 19th
  
• Must have the school name and year on the book: Marshall McLuhan 2010/2011
  
• Size: 8 1/2 X 11 (front cover)
• Size: 8 1/2 X 11 (back cover)
• 1 1/2 inches for spine
  
• Must be in Vector format (CorelDraw) or if you use Photoshop the resolution must be 300 dpi minimum
  

Resource Links:

1. Walsworth Yearbooks
   
2. http://www.yearbooks.biz/?event=Showcase.Gallery&category=1
3. http://yearbooks.lifetouch.com/get-ideas

Gap to Scrap New Logo, Return to Old Design-- News release

NEW YORK (AdAge.com) -- Just four days after confirming its surprise new logo was, in fact, legit, Gap is returning to its old design, Ad Age has learned. The announcement is expected to be made at 4:30 Pacific Time today on the brand's Facebook page.

Marka Hansen, Gap North America president, informed the company's marketing department this afternoon of the change, acknowledging that the switch was a mistake and that the company would be tabling any changes for the foreseeable future.

The logo, created by New York agency Laird & Partners, was intended to be a long-term commitment for the brand with a nod to the future. Ms. Hansen's about-face about the Gap's new logo was foreshadowed by a blog post she wrote for the Huffington Post last Thursday. "We chose this design as it's more contemporary and current. It honors our heritage through the blue box while still taking it forward," she said. "Now, given the passionate outpouring from customers that followed, we've decided to engage in the dialogue, take their feedback on board and work together as we move ahead and evolve to the next phase of Gap."

Calls to Laird & Partners were not immediately returned.

Gap representative Louise Callagy also told Ad Age that the logo debacle does not mean that it has ended its relationship with Laird & Partners. "We are still engaged," she said. "Given this response, we decided to open it up. We'll explain more specifics in the next few days."

Gap posted a message on its Facebook page last night saying that in light of the response to its new logo it will be conducting a "crowdsourcing project."

"Thanks for everyone's input on the new logo! We've had the same logo for 20+ years, and this is just one of the things we're changing," The Facebook post reads. "We know this logo created a lot of buzz and we're thrilled to see passionate debates unfolding! So much so we're asking you to share your designs. We love our version, but we'd like to ... see other ideas. Stay tuned for details in the next few days on this crowdsourcing project."

Asked why Gap handled the rollout the way it did, Ms. Callagy said it was intentional. "Gap's target customer is the millennial, and we're exploring ways to communicate with them," she said. "On Monday, without a lot of fanfare, we introduced the logo on the Gap.com site. ... That's in line with them."

But what about the customers who feel betrayed by the way Gap up and changed the brand without cluing them in? "We're addressing that by opening it up and having everyone participate in the process," she said. "We'll see how it goes."

To read original story, click on the following link: http://adage.com/article?article_id=146353

Video Resource:

1. http://www.youtube.com/watch?v=3mXSZdkH_kk
2. http://www.youtube.com/watch?v=FruzXZLwI2E

The Gap's New logo

This past Monday, without a lot of fanfare, we introduced a new logo on our gap.com site, and I wanted to take this opportunity to explain our thinking behind this decision.

I've been president at Gap brand for the past three years, and I've been living and breathing the changes we've been making on our journey to make Gap more relevant to our customers.

You've seen this evolution through many of our products, such as the 1969 premium denim and the new black pants, and more modern stores in many locations.

The natural step for us on this journey is to see how our logo - one that we've had for more than 20 years - should evolve. Our brand and our clothes are changing and rethinking our logo is part of aligning with that.

We want our customers to take notice of Gap and see what it stands for today.

We chose this design as it's more contemporary and current. It honors our heritage through the blue box while still taking it forward.

Now, given the passionate outpouring from customers that followed, we've decided to engage in the dialogue, take their feedback on board and work together as we move ahead and evolve to the next phase of Gap.

From this online dialogue, it's clear that Gap still has a close connection to our customers, so tapping into this energy is right. We've posted a message on the Gap Facebook Page that says we plan to ask people to share their designs with us as well. We welcome the participation we've seen so far.

We'll explain specifics on how everyone can share designs in a few days.

Thank you to everyone who has already shared feedback. I'm excited about continuing the conversation and believe passionately in where we're taking our brand.

The Assignment: The Gap Inc. Logo Re-design--Due Oct 29th

The Gap Inc. ask people to share their designs. They welcome your participation and it's your opportunity to create your own logo for the Gap Inc.

Your task, therefore, is to redesign the Gap logo. All Logos must be Vector base and a maximum one colour: blue and two values (Black and White)

Creative Process and Elements and Principles of Design

The elements of design are the building blocks of all designs, chosen to convey the message — beyond the actual words or photos used. Desktop publishing documents utilize the five elements of design : lines shapes mass texture color. Can you identify each element in your own designs?

Lines

Lines are one of the basic elements of design. Alone or in combination with other lines or shapes they can aid in the readability, appearance, and message of a design. Have you used lines to organize or guide the eye? Have you used lines to simulate texture or provide movement?

Mass

Mass equals size. Each piece you create has a physical mass. The physical mass or size is the actual dimensions of the piece — height, width, thickness/weight (of paper), and depth (3D objects). Additionally, each element within the design (graphics, photos, lines, text blocks) have their own mass relative to the whole piece. For example, a photo that is physically 3 inches by 5 inches can appear smaller or larger depending on the physical size of the paper it is printed on and the size and proximity (closeness) of other items on the page. Some ways to use mass within your designs:

• to accommodate information, content Example: To present all the desired or needed information comfortably a designer may create a bi-fold rather than the usual single business card
• to accommodate normal size restraints or expectations Example: The postal service has limitations on the height and width of different types of envelopes. If a designer ignores those requirements it could incur additional mailing costs for the client.
• to convey a mood or provide emphasis Example: A place that is physically large (such as an amusement park) or a business that offers a huge assortment of products may use brochures or other marketing pieces that are larger (physical dimensions) or heavier (weight) than normal to carry out the 'bigger' or 'more' theme.
• to create contrast Example: A designer might design a full-page magazine ad using a single small image in the middle of the page with lots of white space.
  

The contrast between the size of the page and the size of the content (image) draws attention to the image and can create a specific mood (depending on other elements) such as conservative, elegant, lonely, or open. Sometimes bigger isn't always better.

Take this brochure description for example: 23 1/4 x 16 1/2 inch full color two-sided brochure (folded twice to 8 3/4 x 11 3/4 inch). This brochures opens twice and is visually packed and appears massive due to the following elements:

• It has a large physical size when opened
• It is folded down numerous times, and although the paper is thin, glossy card stock, it appears massive due to the number of layers created by the folds.
• It is densely packed (in my opinion, overwhelmingly over-packed) with bold, multicolored backgrounds and graphic elements, multicolored and shadowed text, and photographs - making it visually massive and heavy. The brochure is packed with information about the software and its applications. Look at ads, magazines, brochures, logos, and other printed projects with an eye on mass. Ask yourself why each item is as large or small as it is.
  

Hands-On Exercise

Look for four types of material in your collected design samples:

• physically large pieces (larger than 'letter size')
• physically small pieces (business cards, small space ads, tags)
• physically large pieces that incorporate small or visually small elements and lots of white space * physically average or small pieces that incorporate large or visually large elements (such as a single dominate photo or huge headlines compared to other items on the page)

Notes on Digital Photography Workshop April 30th George Brown College

Some helpful links:

1. www.photoshopuser.com
2. www.dpreview.com
3. www.lightroomuser.com

Shot in Raw files/Process Raw files

Camera raw file formats contain unprocessed data from a digital camera’s sensor. Most camera manufacturers save image data in a proprietary camera format. Lightroom reads the data from most cameras and processes it into a full color photo. You use the controls in the Develop module to process and interpret the raw image data for your photo.

DNG files

The Digital Negative (DNG) is a publicly available archival format for raw files generated by digital cameras. By addressing the lack of an open standard for the raw files created by individual camera models, DNG helps ensure that photographers will be able to access their files in the future. You can convert proprietary raw files to DNG from within Lightroom.

Jpeg Files

Joint Photographic Experts Group (JPEG) format is commonly used to display photographs and other continuous-tone images in web photo galleries, slideshows, presentations, and other online services. JPEG retains all color information in an RGB image but compresses file size by selectively discarding data. A JPEG image is automatically decompressed when opened. In most cases, the Best Quality setting produces a result indistinguishable from the original.

TIFF format (Tagged-Image File Format)

(TIFF, TIF) is used to exchange files between applications and computer platforms. TIFF is a flexible bitmap image format supported by virtually all paint, image-editing, and page-layout applications. Also, virtually all desktop scanners can produce TIFF images. Lightroom supports large documents saved in TIFF format (up to 100 million pixels with pixel dimensions of no more than 10,000 on a side). However, most other applications, including older versions of Photoshop (pre-Photoshop CS), do not support documents with file sizes greater than 2 GB.The TIFF format provides greater compression and industry compatibility than Photoshop format (PSD), and is the recommended format for exchanging files between Lightroom and Photoshop. In Lightroom, you can export TIFF image files with a bit depth of 8 bits or 16 bits per channel.

Flash Portfolio Website

Using Flash MX create a interactive Website that shows all your graphic assignments in this course. Your interactive Website should have the following components:

1)Splash page
2)Home page
3)About Me page
4)Portfolio (must be done as a MovieReel)

Good Luck:)