Assignments Converse

Final Portfolio Project • Fall 2013

Here are the guidelines for the final portfolio and presentation:

Must include the following Projects. The project will be graded on the changes you made from the first critique. Did you follow advice from your peers given to you in class, using the notes or advice given to you by the teacher and your own knowledge of everything learned this semester. Feel free to change your business system using your own logo. Or the magazine layout fix your photos in photoshop, then place them into Indesign.

1. InDesign Business System (must have all three letterhead, BC, #10)

2. Magazine 3 page spread

3. logo

4. CD package

Portfolio is worth 40 points of final grade.

Process of grading:

5 points for the size of the portfolio being 16×16 and you used 6 pages

5 points for it being a hi-res pdf and uploaded to Dropbox on time

30 points that there was significant changes and better changes from the original project

to this portfolio. Obviously if you received an A there wouldn’t be many changes.

Feel free to get mini critiques from your peers before you set changes in the

final portfolio.

Converse due Thursday December 5 at 9am, 2013

 

Please create a “Portfolio” folder in your dropbox folder. I only want a hi-res PDF in there. Title it

YourlastnameFA13.pdf (no low-res or bitmapped looking portfolio’s) Make sure before you

export as a PDF all your links and fonts are connected and match up.

Set up the Indesign file as:

16” x 16”

total 6 pages

Page 1 is cover page and you must have information on there as you would if sending to a job.

Pages 2-6 are your projects. The magazine layout will use 2 pages so plan accordingly. You can set up the portfolio however you want. You can go in order of our projects or completely change it up with what you think looks good.

 

CD Project

Converse due 11/26

For this assignment, you were asked by your favorite existing band or musician to recreate one of their existing CD’s. The CD package must contain all elements to be a finished project. I will not accept parts of the CD. I will provide the templates for guides to design in as well as the clear jeweled case to mock up the printed artwork in. Once the CD’s are mocked up and looking good, they must be photographed as I had shown from examples. Expect to spend additional time on this project outside of class. Keep your files organized and linked. The templates were emailed to you.

Must include all 3 componets: (6 points)

1. inside 4 panel booklet

2. back cover with spine

3. CD

Must use all three applications: Photoshop, Illustrator and InDesign (5 points)

Follwed the templates provided for all 3. (5 points)

Final File extension must be saved as a .jpg file and a .pdf file. Save file as Your last name.CD.jpg & Your last name.CD.pdf (2 points)

Craft/neatness of printed piece mocked-up piece (5 points)

Overall look, design concepts such as alignment used, consistent look and feel, rhythm, balance, point, line plane, texture, color, scale, layers (5 points)

Must be uploaded to Dropbox for final critique in your personal folder in a new folder titled CD and in that folder you will have organized files with your .jpg files, .pdf files and photos of final mocked up CD (2 points)

Make sure you keep in mind the following: target audience, make this look like an actual CD. Look at them online think about adding bar codes and social media. Take a look at other students past work at http://www.bridgetkirkland.com

If you have any questions or you are confused by this assignment, please do not hesitate to ask.  I am available by email, twitter and appointment to discuss.

30 Points total

 

Retouching Images

There are many reasons that one may wish to retouch images in PhotoShop.  Vintage photographs are often damaged from age, improper storage, or the elements.  Film or prints that are scanned attract dust particles much in the same manner as film in the developing process.  Once an image is digitized, manipulation of the digital file is usually necessary. 

Technique:

Improving image tone with levels

In the following exercise we will learn how to bring back to life images that have lost their dynamic range through time. This is most helpful when using old photographs or can be used with images that were not properly printed in the darkroom.  A vintage tintype photograph was chosen for this example because tintypes typically are much darker than the average photograph and lack detail. The technique demonstrates the range of possibilities available using Black and White point sliders.  A vintage tintype was scanned using a flatbed scanner (tintype.jpg).

  1. Open the tintype.jpg image from the folder
  2. Crop the image to remove unwanted areas from the image
  3. Add a Levels adjustment layer by clicking the Add Adjustment Layer icon at the bottom of the Layers palette. Or select Layer>New Adjustment>Layer.
  4. Move the white point slider just inside the lightest image information.
  5. Move the black point slider until it falls just inside the darkest image information.
  6. The mid-tone gamma slider then can be used to lighten the overall image.

Damage Control & Repair

Patch Tool or Clone Stamp?

  • The Patch Tool samples texture color and luminosity of the source area.
  • The Clone Stamp literally duplicates the clone source and paints over the original information

-To create a seamless transition from the retouched areas of the image the Healing Brush adds a 10-12 pixel spread to the brush, it is for this reason you should use a hard edge brush when using this tool.  The Clone Stamp is more effective with a softer brush.

-The Healing Brush can only work on layers with actual pixel information. It works better with short brush stokes which allow the program time to calculate individual areas and correct.

-When working along edges that contain white use the clone tool so that you will not be sampling white from the edge.

Using the Clone Stamp:

  1. Select the Clone Stamp tool from the left side of the toolbox or by pressing the “S” key on the keyboard.
  2. Identify an area in which you wish to replace the tone with a matching tone such as a dust spot. Pick a brush that is approximately the same size as the area to be filled with a soft edge.
  3. Move the cursor over an adjacent area that contains a value that is similar to the value you wish to replace. Sample the color by holding down the CMD key (PC: Alt) and click the mouse. This color will appear as the new foreground color in the toolbox.
  4. Move the cursor over the area that you wish to replace the value and click the mouse.  The value will now be replaced with new value.  Changing the opacity in brush dialog box to 50% or lower will allow multiple applications of tone.  Building up tone through multiple applications allows the tone to be applied in a more controlled manner such as spotting.

Using the Patch Tool:

  1. Select the patch tool from the left side of the toolbox or by pressing the “J” key on the keyboard.  Make sure that Destination is checked in the dialog box.
  2. Identify an area in which you wish to replace the tone with a matching tone or in which you wish to smooth out values.
  3. Move the cursor over an adjacent area that contains a value that is similar to the value you wish to replace.  Click and hold down the mouse cursor and create a shape similar to the one that you wish to replace.  Move the cursor over the shape now defined by ‘marching ants’. Click and drag the shape defined by the ‘marching ants’ shape to the location that you wish to cover.  Similar to use of the Clone Stamp, repeated smaller applications are preferred to one large application.

Space & Depth-of-field

We generally perceive objects that are fairly close to us as sharp and in focus, objects that are far away from us seem less perceptible to the human eye. The only exception to this might be objects viewed in very close proximity to our eyes. A piece of paper that is viewed very close to our face usually causes us to squint our eyes to obtain focus. Squinting forces our pupils to contract or close forming a smaller opening in the center of the eye, this smaller opening or aperture forces the various rays of light that form the image to come into focus.

In photography we use sharpness and focus as a means of creating a spatial relationship with the viewer. Depth-of-field is a technique that allows the photographer the ability to control what is in focus and what is out of focus (blur). The use of a small opening or aperture (f16) allows more of the objects in the image to appear as sharp.  Larger openings or apertures (f 4) create images in which only the object that was focused upon may appear sharp and other objects appear less in focus as their distance from the object in focus increases. Apertures are designated by a lower-case italicized f ( to avoid confusion with shutter speed numbers The numbers denote the proportion of potential light that the lens can deliver that will strike the image sensor. An aperture such as f4 delivers 1/4 of the maximum light that is available; an aperture of f16 will deliver 1/16th of the light available for image creation. An image renders all the objects as sharp and in focus possesses a large depth-of-field.  Images with only a small amount of focus on a defined spot are said to have shallow depth-of-field

Sharpness or Depth-of-field increases in a ratio of 1/3 in the front & 2/3 in the rear of a subject or in other words a greater amount of sharpness is created behind the subject than in front of the subject.  The closer we are to objects the more shallow the depth-of-field, the farther away we are from objects the greater the depth-of-field and the less the perception of differences in sharpness between objects.

Technique: 

Focus Vignette Effect

  • Make two copies of the image that is open using CMD-J (PC: Ctrl-J)
  • Make the top layer (Layer 1 copy) inactive by clicking on the eye icon to the left of the layer in the layers palette.
  • Make the center layer active by clicking on Layer 1 in the layers palette. Using the main menu bar select Filter > Blur > Gaussian Blur to give the image the amount of blur you desire. Sliding the Radius Slider will create more or less blur. The higher the number of pixels the greater the blur. (Note: checking & un-checking the Preview box will let you view the changes) When you are satisfied click OK.
  • Make the top layer active by clicking on Layer 1 copy in the layers palette. Select the area you would like to have in focus defining the area using one of the marquee or lasso tools in the top left of the toolbox. Using the main menu bar click on Select > Feather and select a feather radius of 25 pixels, then click OK. (Note: the larger the radius the softer the transition from sharpness to softness. In addition, a larger file needs a larger radius to effect the same gradation as a smaller file).
  • Add a Layer Mask by clicking on the layer mask icon at the bottom of layers palette.
  • This effect can often be more realistic if performed several times to diminish focus gradually or to create a change in blur between foreground and background objects. Do this by saving the image under a different name then flattening the image under the layer menu. You can recreate this effect again and again once an image is flattened.

Variation using Box Blur in later editions of Photoshop

  • Open an image in Photoshop. Double click on the background layer in the layers palette. When New Layer dialog both appears with Layer 0, click OK to make the background layer an active layer.
  • Select the area you wish to remain in focus using one of the selection tools (marquee, lasso, or quick).
  • Go to the Select Menu at the top and click on Inverse to reverse the selected area.
  • Go to the Select Menu at the top and click on Modify>Feather>Feather Radius to adjust the amount of feathering.
  • Go to the Filter Menu and select Filter>Box Blur>Radius.
  • Use ‘Save As’ to save the changes under a new file name and leave the original unchanged.

Motion Blur

We looked at how through the use of depth-of-field and the focus vignette effect images are often more effective in conveying a message if less of the image is sharp and in focus. Creating areas of the image that are sharp and in focus against regions that are blurred heightens visual interest through the use of hard-line/soft-line. Motion and speed can have a similar effect on photographic images by creating areas of blur that contrast against the crispness of static objects.  Traditional photographic techniques rely primarily on the use of shutter-speed to obtain images that produce the right amount of blur against combined with relative degree of sharpness.  Producing these images can be quite time consuming as a number of factors must be considered; the shutter-speed, speed of the moving object, and whether or not the camera is on a tripod. A fast shutter-speed will produce a crisp image that freezes the action, but this does not show motion, it is the antithesis of motion. Blur is an essential tool in conveying the feeling of motion and speed to the viewer. Two photographic techniques are most often used to achieve this effect: 1) The blur of an object in motion in contrast to the sharpness of a static object.

2) Tracking a moving object in the camera viewfinder while using a slow shutter-speed (panning) to produce a relatively sharp moving object in contrast to a blurred background.

 

Technique:

Motion Blur Effect

  • Make a copy of the image that is open using CMD-J (PC: Ctrl-J)
  • Under the Filter menu select Blur > Motion Blur. A dialog box will appear with both an angle clock and a distance slider.
  • Use the clock to set the angle (direction) of motion. Generally we would set this angle parallel to the angle of motion of the object in the image. Changing the numeric degrees in the dialog box can make slight changes to the angle. The distance slider will lengthen or shorten the length of the blur. Click OK when you are satisfied.
  • Hold down the Option Key (PC: Alt-key) while clicking on the layer mask icon in the bottom of the layers palette.
  • Push the “X” key on the keyboard to make the foreground color in the toolbox ‘white’.
  • Select a brush with a soft edge from the toolbox and paint on the areas where you want to apply the motion blur.  You may wish to slide the opacity slider down to 50% to apply the effect in a more gradual manner.

Panning Effect

  • Make two copies of the image that is open using CMD-J (PC: Ctrl-J)
  • Make the top layer (Layer 1 copy) inactive by clicking on the eye icon to the left of the layer in the layers palette.
  • Make the center layer active by clicking on Layer 1 in the layers palette. Using the main menu bar select Filter > Blur > Motion Blur. A dialog box will appear with both an angle clock and a distance slider.
  • Use the clock to set the angle (direction) of motion. Generally we would set this angle parallel to the angle of motion of the object in the image. Changing the numeric degrees in the dialog box can make slight changes to the angle. The distance slider will lengthen or shorten the length of the blur. Click OK when you are satisfied.

Make the top layer active by clicking on Layer 1 copy in the layers palette. Select the area you would like to have in focus defining the area using one of the marquee or lasso tools in the top left of the toolbox. Add a Layer Mask by clicking on the layer mask icon at the bottom of layers palette.

Fall 2013 Project #3 • Due on October 31

Illustrator Creating a logo

For this assignment, you are to take your name, nickname or initials and create your first personal logo from it. You may choose just your first name or last name or first name and last initial. You have the creative freedom to choose what name you are going to use. You also have another option of creating a logo, that is only if you have another company or business, such as reworking furniture or something like that. I don’t want you to create a logo for a business you think you might own. This second option must be pre-approved by your instructor before you begin.

This project must begin in your sketch books, you must take four sketches and move to the 4 quadrants. We will in class review all 4 and help you choose the best one in class to redo and submit one for the final portfolio at the end of the semester. (1 point)

Must be created in Illustrator. You are NOT allowed to use Photoshop or InDesign (1 point)

Page size must be set up as 12’ x 12’ and set up with 4 Quadrants such as example shown. (1 point)

logo quadrant

Final File extension must be saved as an .ai file and a pdf file. Save file as Your last name.logo.ai &

Your last name.logo.pdf  (Remember before you save as a .pdf file you must  select all logos and create outlines only on .pdf file) (1 point)

Colors: You may only use 2 colors and they must be pms/spot colors. On the final logo sheet you must show pms (Pantone Management System) # of the 2 colors used. All 4 quadrants must use those same 2 colors. (1 point)

Use all the illustrator effects that don’t create or turn your logo drawings into a raster images. The logo must remain a vector file. Think about positive and negative space, playing with shapes and consider adding a graphic element to the logo. Please research logos on the web, visit bookstores and look at the logo books and be aware of all logos around you good & bad, so you know what you like and don’t like for your first logo. (1 point)

You may not have any links attached or linked in any of your final 4 logos. (1 point)

Overall look, design concepts such as alignment used, consistent look and feel, rhythm, balance, point, line plane, texture, color, scale, layers Graphic Design Basics, see the link below.
http://gdbasics.com/index.php?s=pointlineplane (2 points)

Must be uploaded to Dropbox for final critique in your personal folder in a new folder titled logo and in that folder you will have your .ai file, .pdf file and a picture of the sketches all in the one folder. (1 point)

Make sure you keep in mind the following: target audience and possible applications or uses of your logo in your overall design

If you have any questions or you are confused by this assignment, please do not hesitate to ask.  I am available by email, twitter and appointment to discuss.

10 Points total

Due on October 22

sketches in sketch book for logo

http://tv.adobe.com/show/learn-illustrator-cc/

Watch all

Essential Tasks

Selections in Illustrator

Essential Tasks -artwork

Essential Tasks- Text

Brushes in Illustrator

InDesign Project #2 

3 Page Magazine layout with full page spread

Your favorite magazine called you and needs help. They are hiring you to freelance design a story for the magazine, you will need to design the layout as well as come up with copy for the three pages to place in the magazine. Create the 3-page spread or layout using the application Adobe InDesign.

For this assignment, I will be collecting your digital folder with InDesign file AND PDF as listed below to grade the assignment as listed below.

Assignment Requirements: (total of 10 points)

1. Use master pages. (1 point)

2. Use page numbers in master pages. (1 point)

3. You must import text or the story and have a text file

(Word doc, email file or InDesign file) in your folder (1 point)

4. Have at least 5 running text panes that continue. (1 point)

5. Have at least 5 pictures that can include graphics and logos to be placed on the page and properly

linked up with correct files in folders (1 point)

6. Folders will need to be set up correctly & MUST PACKAGE InDesign FILE + PDF file. 

example: Spin Magazine_YourLastName (1 point)

7. Must have links to pictures. (1 point)

8. Guidelines, 3 pages, 8.5 x 10.5, 3 columns, gutter .25, margins all .5″, facing pages (1 point)

9. Overall look, design concepts such as alignment used, consistent look and feel, rhythm, balance, point, line plane, texture, color, scale, layers (2 points)

Make sure you keep in mind the magazine you are designing for; target audience. Have fun with this project. Please look at magazines they are the best examples and will be the best answers to solving this real-life design challenge. If you have any questions or you are confused by this assignment, please do not hesitate to ask. I am available by email, twitter and appointment to discuss.

InDesign, Fall 2013, Project #1

T/TH class due Thursday 19 at 8:30am

Business Card (2″ x 3.5″ or 3.5″ x 2″)

margins 1/8 of an inch around all 4 sides.

Letterhead (8.5″ x 11″)

margins 1.5 ” at top, 1 ” L, R & bottom.

#10 business envelope (4 1/8″ x 9 1/2″)

margins 1/2″ each side.

You will create 3 new files in Indesign. Find a hi-res logo of interest online and place it on the Business card, 8.5 x 11 letterhead and #10 business envelope to make a complete business system file. You must utilize placed images. You may copy and paste images and text boxes onto the letterhead and #10 envelope from the original designed business card. All three pieces must be off the same business. Meaning you can’t have a letterhead of McD’s and a business card of BurgerKing.  Think logically about what is needed on each piece. Address, phone number, email address, fax number, All of these can be real or made up. Think about the fonts, serif or san serif, the size of the fonts. Perhaps adding social media elements such as facebook or twitter links and anything else to make it work. Remember to keep design in mind and possibly research online examples of all three to get ideas. All files can be saved as indesign files on your end, but must also be saved as a pdf file in dropbox for me to grade.

Please save the files in the following manner

lastname124_F13_#10 (for #10 envelope)

lastname124_F13_BC (for biz card)

lastname124_F13_LH (for letterhead)

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