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COURSE
SYLLABUS
ECIAD/BCIT:
Design Essentials Program
Course: Fundamentals of Applied Arts
CEDE 160 Cohort
12 sessions Duration: 36hours
Instructor: Vjeko Sager
email : vsager@eciad.ca
COURSE
OUTLINE – FUNDAMENTALS OF APPLIED ART
Course Description (CEDE 160)
This course provides an introduction to visual
communication through drawing, colour theory and 2D
practice. Classic and modern drawing principles are
discussed with an eye toward practical applications
for the graphic designer. Students are introduced to
various drawing methods, tools and materials and are
encouraged to experiment with concept development and
self-expression. This course covers such basic principles
as line, shape, composition, perspective, proportion,
positive and negative space, colour theory and the semantics
of colour through a variety of applied media.
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Course Learning Outcomes
• Demonstrate familiarity with basic
drawing tools, materials and methods
• Develop a basic knowledge of drawing theory,
principles and concepts
• Demonstrate a basic to intermediate level of
drawing ability
• Be able to translate both observations and ideas
into 2-dimensional work
• Develop the ability to make yourself understood
through sketches
• Demonstrate self expression and concept development
in your work
• Discuss drawing as a means of visual communication
of ideas
• Develop a basic knowledge of colour theory,
principles and concepts
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Course Method of Presentation
• Introduce basic drawing principles
and concepts through in-class lectures, discussions,
slide or visual presentations and practical demonstrations
• Develop technical and conceptual skills through
in-class studio projects, exercises and homework assignments
• Encourage group discussion and evaluation skills
with individual and group critiques
• Allow students hands-on practice with tools
and practical feedback to their work
• Present information regarding magazines, web
sites, books and other reference material to further
students knowledge
Resource materials
Please bring drawing pad and set of pencils
to the first class.
• Cartridge or Newsprint Pad: 18 x 24”,
50 sheets
• All Purpose Drawing Paper pad 17” x 24”,
at least 80 lb, 25 – 50 sheets
• Various Pencils: HB, B, 2B, 4B, 6B, 8B
• Pencil Sharpener or Knife
• Various Erasers
• Compressed Chalk (sticks): Black, White, Grey
• Natural Charcoal: Willow (25 medium sticks)
• Conte Crayons: Black, White, Sanguine
• Fibre Tipped Drawing Pen
• India ink, mapping and drawing pen and penholder
• Watercolor brush (various sizes & shapes)
• Bulldog Clips
• Pushpins
• Scissors
• Masking tape
• Glue Stick
• Drawing/sketching journal (1 pocket-size, 1
regular size sketchbook)
• Tracing Paper
• Ruler and compass
• Set of water-based color pencils (12)
___________________________________________________________________________________________
Course Content and Schedule
of Instruction
Day One:
Seeing and Drawing 1:
Overview of course
Demo/Lecture: ways of Seeing and Drawing
Exercises: Line Contour Gesture Mass
Homework: make 50 drawings
using techniques practiced in-class
Procedure: put a title on a pocket-sided sketchbook
and draw quick studies (10 per day)
Day Two:
Seeing and Drawing 2:
Review homework: Contour, Gesture, Mass
3D Structure Exercises
Modeling Exercises, using light/shadow to model form
2D Space/flattening form
The role and importance of negative space in Design.
Homework: make 5 structural
studies of different objects
Procedure: find basic structure of every particular
form (symmetry, etc)
Day Three
Seeing and Drawing 3:
Review homework: structural exercises
Tonality Exercises: basic shading techniques
Uses of tonal ‘conversions’ in graphic design,
grayscale
Exercises in using texture to create tone
Assignment 01:
make a tonal (grayscale) study
Procedure: make a (still life, composition) with a permanent
light source; draw every day one part of the study,
bring concept sketches and photo as support of the process
Day Four
Assignment 01 presentation/critique: Tonal Design due
beginning of class 10%
Seeing and Drawing 4:
Composition elements
Figure Ground Exercises: Understanding the ‘figure-ground
relationship ‘
Using various combinations of contour, gesture, mass,
space, modeling, silhouette, figure-ground and tonal
design in drawings.
Homework: make 6 different
compositions using the same object
Procedure: explore variety of compositions and name
each drawing
Day Five
Spatial representations 1:
Homework review: compositional exercises
Intro to Perspective: Illustrated Lecture/Demo Perspective
and other Geometrics
(History of perspective and other geometries used to
describe space and form)
Visual Cues for Depth: One, two, three-point, fisheye
perspective modes
Basic Perspective Terms and Principles: Exercises in
one and two point – draw objects, draw spaces,
objects in context spaces. Aerial, ground-level, worm’s-eye
views
Homework: make a perspective
study of your choice (one, two, three or “exaggerated”)
Procedure: please bring a photo resource for evaluation
Day Six
Spatial representations 2:
Homework review: perspective study
Measuring geometries and techniques for spatial representations
(accuracy and proportion)
Use of underlay grids and plan projections
Exercises in orthogonal projections
Exercises in alternative perspective (anamorphic, inverse,
accelerated)
Assignment 02:
draw object(s) in space using adequate spatial representation
Procedure: find an object and create a story around
it. Render a space to emphasize “meaning”.
Day Seven
Assignment 02 presentation/critique due at beginning
of class
Faces and Figures 1: Head & Body studies
Basic head form, anatomy and proportions (bones &
muscles)
Rotations and perspective in head-forms & body
Drawing feature-groups, expressions, likeness
Basic figure drawing principles
Gestures for typical poses & figure in action
Drawing an internal ‘mental model’ –
a simple manikin-form, anatomy and proportions
Tonal modeling and the figure - light and shadow set-ups
Tonality and lighting studies
Homework: make a tonal
study of the figure. Be creative and use various resources
for inspiration (literature, comics, movie)
Procedure: draw a figure from “inside-out”
using grid lines. Add graphic/narrative aspect
Day
Eight
Homework review: Figure drawing
Bionics: studies of natural forms
Biomimicry and design
Proportions, geometry, structure as inspiration for
design
Micro and macro dimensions, organic and crystalline
principle
Assignment 03:
nature as inspiration for design
Procedure: make a graphic/study inspired by selected
natural form or event
Bring sketches and resources to support the design
Day Nine
Assignment 03 presentation/critique due at beginning
of class
Graphic Design and Composition:
PLEASE NOTE - FOR PASTE-UP EXERCISE - NEED SCRAP MAGAZINES,
SNAP-OFF KNIFE, METAL RULER, GLUESTICK (for collage)
Lecture: Composition for Graphic Design
Elements and principles of composition/layout in art
and design
Strategies of composition
Exercise: analyzing and abstracting from graphic design
samples
Understanding ‘concept’ as an organizing
principle in design
Seeing and diagramming abstract ‘concepts’
in supplied objects
Creating a layout based on these concepts
Practical graphic design procedures
GRAPHIC DESIGN IN-CLASS ASSIGNMENT: Create a series
of five 81/2” x11” pages by collage of cropped
cutouts of photos and type from old magazines. The series
must show design principles of unity with variety and
emphasis, good use of white/negative. space, etc. etc.
Homework: continue working
and finish design compositions at home. Bring in the
next class for evaluation & critique
Day Ten
Assignment reviews: Graphic designs due at beginning
of class
Colour 1- Colour Theory Basics -Hue, Value and Intensity
Studies
Lecture on colour in art and design
Introduction to major contrasts – hue, value,
intensity; temperature; effects of light on colour
The physics of light and comparison of paint pigments
vs inks on paper vs electronic media to replicate colour
incidence/reflection/emission
psychological issues
additive and subtractive colour, RGB, CMYK
colour wheel
colour scheme typology
Colour mixing exercises
Colour scheme exercises
Homework: Make a personal
color scheme (MOODBOARD) for your portfolio
Procedure: mix and define your favorite colors; find
same colors in nature, design, art, etc (as a reference);
use your color scheme to design personal “ID package”
(logo, business card, envelope, letter, email, etc)
and apply design to your portfolio
Day Eleven
Colour 2 –- Colour as Design Concept
Colour Studies
Meaning of colour: symbolic, cultural, communication
Colour in action: spatial, informational, visual properties
Figure-ground: colour and contrast in design
Portfolio: design presentations
strategies & techniques
Day Twelve
FINAL PORTFOLIOS DUE
Final presentations/critiques
Summary of Homeworks &
Assignments and Values:
(May be subject to change during the session.)
Home 1: 50 drawings - Due at beginning of class Day
2 5%
Home 2: 5 structural studies- Due at beginning of class
Day 3 5%
Assignment 01: tonal (grayscale) study - Due at beginning
of class Day 4 15%
Home 3: 6 different compositions - Due at beginning
of class Day 5 5%
Home 4: a perspective study - Due at beginning of class
Day 6 5%
Assignment 02: spatial representation - Due at beginning
of class Day 7 15%
Home 5: tonal self-portrait - Due at beginning of class
Day 8 5%
Assignment 03: Nature as inspiration –Due at the
beginning of class Day 9 15%
Home 6: 5 design compositions/layouts – Due at
the beginning of class Day 10 5%
Home 7: Colour ,Theory Basics - /Mixing/Matching: personal
color scheme (mood-board)
- Due on Day 11 5%
Assignment 04: Final Portfolio - Due in the last class
Day 12 20%TOTAL 100%
Grading
In case of discrepancies, Emily Carr Policies will superceed
the following:
LetterGrade Percentage Points out of 10 Points out of
15 Description
A+ [95-100] 9.8 14.6 Distinguished Achievement
A [90-94] 9.2 13.8 Outstanding Achievement
A- [85-89] 8.7 13.1 Excellent Achievement
B+ [80-84] 8.2 12.3 Very Good Achievement
B [75-79] 7.7 11.6 Commendable Achievement
B- [70-74] 7.2 10.8 Good
C+ [65-69] 6.7 10.1 Competent
C [60-64] 6.2 9.3 Satisfactory
C- [55-59] 5.7 8.6 Pass
D [50-54] 5.2 7.8 Marginal Pass
F [0-49] unacceptable unacceptable Fail
I Incomplete Grade
W Withdrawal from a course
In this course, when a letter grade is given for a specific
assignment, the median percentage is assigned for final
calculations. For example, if you receive a B+ on a
specific assignment this will count as 82% when calculating
final grades.
IMPORTANT NOTES:
ALL ASSIGNMENTS AND IN-CLASS EXERCISES TO BE RETAINED
IN A PORTFOLIO AND RE-SUBMITTED TOGETHER WITH THE FINAL
ASSIGNMENT ON ITS DUE DATE. This is to allow a final
comprehensive term-end review of progress through the
term.
ALL ASSIGNMENTS MUST BE COMPLETED AND SUBMITTED TO RECEIVE
A FINAL GRADE.
ATTENDANCE MANDATORY EXCEPT WITH PRIOR PERMISSION OR
MEDICAL NOTE. 85% of classes must be attended to pass
(This means you can miss a max of 2 classes).
Suggested Reading
Perspective! For Comic Book Artists, David Chelsea
Print Magazine
How Magazine
Ad Busters Magazine
Step-by-Step Magazine
Applied Arts Magazine
Communication Arts Magazine
Graphic Arts Guild, Handbook of Pricing and Ethical
Guidelines (available online at www.gag.org)
“The Ultimate Portfolio”, Martha Metzdorf,
North Light Books
Mendelowitz “A Guide to Drawing” 5th Edition
Terminology
Ideate
Ideation is the process of creating ideas. Within the
realm of product development, it often refers to the
creative component of the design process, in which solutions
are put forward, built upon, and used to spawn new solutions.
Ideation can involve many different techniques, and
different people find more success with some techniques
than with others. Typical methods of ideation include
brainstorming, sketching, problem dissection and analysis,
sketch modeling, and experimentation.
Brainsketch or Brainsketching
Brainsketching is a group creative method that uses
sketching and drawing to generate a large breadth and
quantity of ideas. An offshoot of brainstorming, a brainsketch
exercise involves each person in the group sketching
or doodling a concept solution to a particular problem.
After a time, each person passes his or her sketch to
the next person who then continues to build and grow
the idea. After a while, all ideas are pulled together
for evaluation and discussion.
Brainstorm or Brainstorming
Brainstorming is a classic creative technique that can
be employed in group settings. The goal of a brainstorm
exercise is to generate a large quantity of ideas and
solutions in a relatively short period of time.
Brainstorming should be a blue-sky, non-critical exercise
that encourages uninhibited thought. Thus, even ideas
that seem bad or silly should be shared during brainstorming.
Following the session, Reverse Brainstorming is used
to critique ideas and narrow the field of viable solutions.
Concept Development
Concept Development is the process of generating ideas
and problem solutions, building on those ideas, merging
ideas, and evolving ideas into more robust solutions.
Concept Generation
Concept Generation is the process of creating concepts
of solutions to problems. Within the realm of product
development, concept generation usually refers to the
element of concept development specifically associated
with creating new product ideas.
Creative Session
A creative session is a meeting specifically for the
purpose of exploring new creative territory within a
chosen subject matter. Typically, a creative session
will include many activities such as brainstorming,
problem analysis and dissection, brainsketching, and
reverse brainstorming.
Ergonomics
Ergonomics is the science of creating products, spaces,
and experiences to fit the natural tendencies of the
user, rather than forcing the user to conform to the
created product, space or experience.
Ergonomics is often a critical component to successful
product design. A consumer will often perceive a more
comfortable product as having more value. Ergonomically
appropriate products can help to build brand loyalty.
Focus Group
Focus groups are a common tool used for market research.
A focus group usually consists of a small group of people
within the target market of the concept being tested.
A facilitator guides the group through discussion or
interaction with the concept. These events can be very
valuable because of the outside opinions they provide,
and because of the ability to use the session to evaluate
the group's emotional responses to the products or experiences
being tested. .
Focus groups can be used to compare a variety of concepts
prior to production, for getting insight into the color
scheme preferences of the target market, and for answering
any number of other questions involving the target market's
response.
Form Follows Function
First coined by the American architect, Louis Sullivan,
at the end of the nineteenth century, the phrase "form
follows function" has become a mantra for many
product designers. The basic meaning of the phrase is
that the appearance, shape, and method of use of the
object (the form) should naturally be derived from the
intended purpose (function) of the object. Thus, a chair
should look like, work like, and feel like something
a person is to sit in.
Photo Realistic Rendering
A photo-realistic-rendering is a computer generated
flatwork illustration of an object or scene. These renderings
simulate lighting, materials, and environmental effects
to create the illusion of reality.
Often, it is necessary to present product concepts in
a realistic way before production has occurred. Ray-traced
photo-realistic renderings give designers the opportunity
to simulate reality even for early concepts
Aesthetics
Aesthetics is a philosophical concept which deals with
the notion of beauty. Since beauty is 'in the eye of
the beholder', it is not possible to quantify aesthetics.
An object, song, or experience that one individual finds
aesthetically pleasing, may be totally offensive to
another individual. This is among the reasons why our
society has so many different options in products, cuisine,
music, and other sensory experiences.
Product aesthetics
is a more specific subset of aesthetics. Products are
often referred to as having specific aesthetic characteristics,
such as a futuristic aesthetic, a feminine aesthetic,
etc. Product design seeks (among other things) to match
an appropriate aesthetic with the target consumer.
Design
Design is the act of creating a plan for something.
Within the realm of product development, design is the
process of converting a product need into plans for
a manufacture-ready product. Design in this sense can
be subdivided into a number of other fields including
primarily industrial design and design engineering.
Additional sub-categories include package design, interface
design, design for manufacture, ergonomic design, and
numerous other specialties.
For a product to be successful, the design of that product
usually should include industrial design (which focuses
on the user aspects of the product including form, aesthetics,
consumer appeal, ergonomics, etc.) and design engineering
(which focuses on the function and manufacturability
aspects of the product).
Product
Illustration
Product illustrations are two-dimensional 'flatwork'
representations of products. Typically, they show a
product's outward appearance and basic functionality.
A product illustration can take many forms, including
everything from simple sketches to sophisticated computer-generated
renderings.
Product Rendering
A product rendering is a flatwork illustration of a
product. Renderings typically have more depth than sketches,
and include light, shadow and color effects. A designer
can create renderings physically with paper and art
tools, or digitally using a variety of software.
Often, it is necessary to present product concepts in
a realistic way before production has occurred. Ray-traced
photo-realistic renderings give designers the opportunity
to simulate reality even for early concepts.
Product Semantics
Product semantics is a field of thought based on the
idea that a product's form should readily communicate
the function of the product. Thus, a product with good
product semantics would typically not require the user
to read a manual before beginning use.
To observe the principles of product semantics, a handle
should look like, and feel like something that is to
be turned, a knob should be something to be twisted,
and a button should obviously be pushable.
Product semantics has also been extended in some cases
to include the application of personality attributes
to products. For instance, the Volkswagon Beetle is
a ‘happy product’.
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