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  Graphic Communication Aug - Dec-2014


Syllabus for Graphic Communication (CS 2032) taught at Nanyang Technological University, Singapore Semester 1 Academic Year 2014 - 2015.


Download: Syllabus CS 2032 Sem 1 AY 2014 - 2015.pdf



Documentation of the design process


Students in the Graphic Communication (CS2032) course conducted at the Wee Kim Wee School of Communication and Information, Nanyang Technological University in Singapore were required to document the entire design process from start to finish as a process in which the process is something like a visual story that tells or describes to someone so that they can understand the process of creation (which includes sketches, and research or a form of information gathering that lead to explorations, eventual refinement of those ideas and an eventual lead to the end product). Shown here is the process notebook of Belicia Lim.






Tutorial 1: SINGAPORE


In imparting the knowledge of how to communicate with images, students were exposed to a series of tutorials designed to help them understand how to communicate visually. An example is cropping which could be used as emphasis as they affect the creation and perception of figures and forms in visual communication. In addition, they also learn how to visually interpret and define point, line, plane, and shape used in art and design; how to use shapes to represent realistic or abstract images and finally, how to understand basic compositions.

Juxtaposing different images that students from Graphic Communication module snapped of iconic landscapes, architecture, or things that remind them of an authentic Singapore experience, they would then crop each image to spell out the characters of SINGAPORE. They may mix the theme (buildings and food, for e.g.)






Tutorial 1: SINGAPORE


Shown here are works of Febriliani (top) and Ronja Haase (bottom). Selecting the Chinese characters of 安 雅 as she was also registered in a Chinese language course, she wished to be addressed as "Anya". Ronja was an exchange student from Denmark.






Tutorial 2: Mooncake packaging


September 8, 2014 was the mid-autumn festival which is about lunar worship and moon watching, and mooncakes associated with the festivity were regarded as an indispensable delicacy. Students learn about a cultural festivity by researching about festival and they must inject the flavor of a festivity onto a 3D packaging. The design must bring out the essence of the festivity and in the form of a repetitive pattern on a packaging (3D). They were only concerned with designing the outer shell of the packaging. A template of the packaging in JPG, PDF and AI files was provided.

The following elements must be present in the packaging:
- A repetitive pattern to either cover a majority of the surface of selected parts of the packaging that embodies the "flavor" of the festivity based on your interpretation of the significance or meaning of the festival.
- An application of appropriate colors and relevant graphics or images on the packaging (dimensionally), excluding the inside of the packaging.
- The traditional Chinese characters of 中秋節餅 (or the simplified version中秋节饼) must appear on the packaging in addition to "Mid-Autumn Festival Mooncakes" in English.

Shown here from top to bottom are the works by Rachel Chia Yi Theng, Febriliani and Low Zhang Quan.






Tutorial 3: A Singaporean Lion


Shown here is Poh Li Ting's handmade mascot.






Tutorial 3: A Singaporean Lion


Shown here are mascots by Febriliani that promotes "Singlish," a localized patois and Chia Pei Shin (Clarissa)'s that promoted a landmark in Singapore.






Tutorial 3: A Singaporean Lion


Part of the scaffolding strategies in which students were given a simplified version and then gradually increased in complexity was by breaking the assignment down into simpler form such as shapes, like sphere, cylinders etc.

In designing a cute mascot with a head, two arms, two legs and a tail for the tourism board of Singapore, the objectives were as followed:
- To understand how mascots relate to visual communication.
- To learn techniques for using the physical and visual attributes (tone, value, texture, etc.) in creating and representing figures and forms.
- To understand how mascots are used within promotional and symbolic contexts.
- To apply human emotions to express the idea of cuteness within a commercialized or politicized context.

They could make a single drawing of their character from the front as a way of visualizing the mascot. With another sheet of (translucent tracing) paper on top, draw shapes like circles, rectangles, cylinders over your character to simplify it down to basic shapes. They must decide the ratio of head to body (head heights) to determine the height of the mascot. They didn't have to worry about making fingers and facial features (eyes, nose and mouth etc) but instead, just the basic shapes, without extra details like clothes. Then add the details. Within a smaller group formed, they must discuss their ideas and elimination starts the moment they choose.

The anthropomorphized lion mascot must be used to promote one of the following scenarios:
- Introducing the foods of Singapore (pick a dish), a landscape or landmark of Singapore (incorporate it into the background) and teach Singlish to foreigners (either by means of teaching or sharing). Shown here is the exploratory sketches and refined ideas of Belicia Lim's mascot that promotes a local dish.






Tutorial 4: Meaning can be reinforced in visual images or words by using size to contrast/to create emphasis


Instead of choosing a graphical element easily available from the internet as allowed in tutorial 4, Steffi Koh Min Xuan, demonstrates that beginner crocheters often fail to pick the right hook size to crochet by making her own font. Using two hooks, sized at 9.0 mm and a 4.5 mm, she creates a mono weighted, san serif typefaces that lends a kitschy and personal touch as the tutorial is about reinforcing meaning in visual images and words by using the concept of size as a contrasting device. Her final deliverable, sized at A3 must be presented only in black and if necessary, in monochromatic tones only.














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