Interaction Design WikiGraphic Design Basics

GRAPHIC DESIGN LAB — 2019 — 1st Semester


Reactive Screens
Rebecca Morganti-Pfaffhauser — Visual Programming: Luke Franzke



fltr: Andy Kirk, Sophie Anderhub, Sonjoi Nielsen, Fabian Frey — 2018 , Chen - Szakacs  — 2017

The maximum effect of a poster is a striking verbal and visual reduction to the essentials. "Like something unexpected and surprising, as a kind of optical incident ..." ... "The poster must enter the emotional sphere ... like a burglar through the window, with a crowbar in his hand ..." A.M. Cassandre

Slimy pit tea – its playtime!
An anagram is a word or phrase formed by rearranging the letters of a different word or phrase, typically using all the original letters exactly once. For example, the word anagram can be rearranged into nag a ram, or the word binary into brainy. The original word or phrase is known as the subject of the anagram. Any word or phrase that exactly reproduces the letters in another order is an anagram. Someone who creates anagrams may be called an "anagrammatist", and the goal of a serious or skilled anagrammatist is to produce anagrams that reflect or comment on their subject. Wikipedia

By chance, we select only one term from a dictionary. This term we supplement with two other self-selected words, generate anagrams and find the right juxtaposition. By rearranging the basic design elements (e.g., word, point, line, from,), the context changes and we provoke new products, new moving posters. The play with the coincidence and the process generates new compositions during our work. We work analog and digital.

Material to bring to the Kick-Off
Dictionary, laptop, scissors, cutter, metal ruler, pencil, Edding fat to narrow, thin, thick brush, thin brush ,USB stick, cutting pad, research material, adhesive tapes, line, Duct tape, thread, adhesive tapes, glue: Rubber Cement, sample papers,  magazines / notebooks, newspapers, stencils, Letraset, stickers, colored pencils, pastel pencils, pair of compasses, triangle ruler, cardboard, rubber, Bostich, Post-it ..

Expected Products
A  — 5 x Poster A3, 3 x A1,
optional: AR (artivive app)
color: Black & white

B — Moving Screens
2 Screens @ 45" (122cm x 69.5cm))
as one Screen:122cm x 139cm
programmed with processing

C — Documentation Format: 
printed & digital

Fonts for use as a base:
Helvetica, Favorit oder Swiss
GT Super, Century Schoolbook MT

Working form
The poster can be designed and programmed in a team (max 2 persons).
The exercises does each student individually.

Learning goals

Learning goals:

— playful learning
— learning by doing
— with simple methods and technics producing
     a variety of material
     only with letters in different fonts
— get to know and understand basic rules in composition

— capture the influence of word and image
— work processively and in the format
— talk about your own work
— work alone and in team
— learning from each other

Criterion of the evaluation
— design & interaction reactive wall +/- 40%
— documentations 25%
presentations 10%
— poster prints B&W (A4, A3) 25%

and of course:
variety / combinations
expressiveness and formal aesthetics
expressiveness and formal aesthetics

— Geschichte des Plakates Histoire de l‘affiche History of the poster,  Josef und Shizuko Müller-Brockmann
— Generative Gestaltung entwerfen, programmieren, visualisieren, Hartmut Bohnacker, Benedikt Gross, Jul
— Postercollection, Lars Müller Publishers (verschiedene Ausgaben)
— Tissi & Odermatt, Swiss Posters, Waserverlag Zürich
— Tissi & Odermatt, Grafic Design, Waserverlag Zürich
— H. Knuchel/J. Nänni «BLUE. YELLOW. RED» colour anagrams 1991, Lars Müller
— Typo China mit einem Essay von Eva Lüdi Kong, Museum für Gestaltung Zürich, Plakatsammlung
— Posters by members of the Alliance Graphique Internationale (AGI) 1960 - 1985 ed. by Rudolph de Hara
— Plakat polski 1970-1978 [introduction: Zdzisław Schubert]
— Breaking the rules posters from the turbulent 1980s in Switzerland Plakate der bewegten 1980er Jahre
— Armin Hofmann mit einem Essay von Steven Heller, Museum für Gestaltung Zürich, Plakatsammlung
— Handmade mit einem Essay von Claude Lichtenstein, Museum für Gestaltung Zürich, Plakatsammlung
— Ralph Schraivogel mit einem Essay von Robert Massin, Museum für Gestaltung Zürich, Plakatsammlung
— Schwarz und Weiss mit einem Essay von Lars Müller Black and white with an essay by Lars Müller
— Visuelle Wahrnehmung = Visual perception, Jürg Nänni, Sulgen, Niggli
— Poemotion 3 Takahiro Kurashima, Lars Müller Publishers
— Optical Illusions and the visual arts, Ronald G. Carraher, Jacqueline B. Thurston
— Das Bild als Schein der Wirklichkeit, Herbert Schober, Ingo Rentschler, Moos Verlag München 
— See waw, Hans Knuchel, Jürg Nänni, Lars Müller Publishers


— Anagramm-Generator de (Wort):
— DE, (mehrere Wörter)
— Anagramm-Generator eng:
— blelb ist ein Labor für Gestaltung zwischen Kunst und Technik:
— Space type Generator:
— chanching Fonts

— Programming Fonts

Graphic Classics / Some Inspirations:
please google:
— Armin Hofmann 
— Moholy Nagy Typography
— Wolfgang Weingart Typography
— Emil Ruder
— Koichi Sato
— Max Bill
— Ralph Schaivogel
Graphic Now / Some Inspirations:
Inspiration films ;) (concerning the theme play and coincidence )
Adriano Celentano:
Fischli Weiss, Der Lauf der Dinge:
Michelangelo Antonioni, Professione Reporter, Final Scene :


Typo & Icons
Rebecca Morganti-Pfaffhauser

In the second part of GDB you will go with a chosen style on a virtual Citytrip.

You first dive in to the worlds of brands. Second you will choose one brand and then get to know it. Third: you design a city guide with the look of your chosen brand.

Explore 2 brands that have a strong and clear visual identity which you like allot. These brands can come from fashion, visual designers, search engines, automotives, places, newspapers, events etc.

Create a moodboard (A4 landscape format) with the essential, visual parameters from each of the 2 brands, from which the look & feel of the brand is readable.

1 word mark, figurative mark or word/figurative mark, Title
2 primary colors and secondary colors of the corporate design
3 fonts of corporate design
4 corporate design elements
materiality of the products
6 design language of the products
7 images
8 Find the used fonts and name the font, font style and the application area.
Example tools
9 ...

Select one brand of phase A. Explore for the following terms pictograms and / or icons. Design at least 5 pictograms to each term which fit to the chosen brand. First create analog sketches, then convert the icon families digitally with Illustrator.

1 hotel
2 dinner / meal
3 coffee
4 nightlife
5 now
6 entertainment
7 discover
8 visitor attraction / sight
9 map

Create a City Guide with the look and feel of your selected brand. It is important to notice the brand, but not by the frequent placing of the logo, but by applying the visual parameters such as fonts, colors, elements etc.

— Home / Welcome screen 
— City Screen
— Discover Screen
— Map
— ...

Expected Products
A —Moodboard 
A4 landscape format
printed & digital

B — Icon families
A4 portrait format
printed & digital

C — City guide design
A4 portrait format
printed & digital
(one page, full size A4)

Working form
The exercises does each student individually.

Learning goals
— get to know brands
— appearances of brands
— simple layouts
— basic icon / pictogram design
— first steps screendesign mobile

Criterion of the evaluation
— design icons / icon families +/- 40%
— design city guide +/- 30%
— design mood board +/- 10%

presentations +/- 10%
— documentations +/- 10%

— Zeichensysteme der visuellen Kommunikation: Handbuch für Designer, Architekten, Planer, Organisatoren, 1. Januar 1996 von Otl Aicher(Autor), Martin Krampen(Autor)

— Piktogramme und Icons: Pflicht oder Kür? Gebundenes Buch – 1. Juli 2005 von Rayan Abdullah(Autor)  Galeriegeschoss 288- 50 Regal G45.2
— Der Mensch und seine Zeichen (marixwissen) Broschiert, 2013 von Adrian Frutiger(Autor)

— Fahrgastinformationssystem : Gestaltungshandbuch für die Schweizerischen Bundesbahnen : design manual for the Swiss Federal Railways = Passenger Information System

Josef Müller-Brockmann, 1914-1996; Andres Janser, 1961-; Museum für Gestaltung Zürich; Shizuko Yoshikawa und Josef Müller-Brockmann Stiftung

— Josef Müller-Brockmann : ein Pionier der Schweizer Grafik Lars Müller, 1955-; Josef Müller-Brockmann, 1914-1996


Moving Poster Template

Screen arrangement


Week 1Tuesday 26.11Wednesday 27.11Thursday 28.11Friday 29.11

Graphic Design Lab (LF / RMP)
09.30 Kick-Off @ Nieves
Köchlistrasse 5
— Find anagrams 

Graphic Design Lab (RMP) 4.K15
09.00 Material Lab RMP — warm up
 — Material-Lab 1 / A11

Graphic Design Lab (RMP) 4.K15
09.00 presentations Blowups Plenum
10:00 Illustrator crash course 
— fixing Anagramm 
— idea Anagramm combined with processing skills

Graphic Design Lab  (LF / RMP)
09.00–12.00 Mentoring
— Anagramm & Processing sketches

13:00 — Programming basic with (LF)

Graphic Design Lab  
Independent study
— Material-Lab 2 / Blowup

Graphic Design Lab
Independent study
— Typo-word combined with processing idea

Graphic Design Lab (RMP)
13:00 Basic Poster Rules

15:00 IAD Alumni Seminar.

Week 2Tuesday 3.12.Wednesday 4.12.Thursday 5.12.Friday 6.12.
MorningGraphic Design Lab
Independent study
— Material-Lab combined with processing
opt. mentoring RMP

Graphic Design Lab (Benjamin / LF / RMP) 4K15
09:00–11:30 — Presentation (Design & Idea)
— state pf project
— favourite A3's

Graphic Design Lab (RMP)
09.00–12.00 — Mentoring 
— state pf project
— favorite A3's

— Deliverables: 5 A3 print and 3 A1 prints per Person
(Black and White) for the Wall

Graphic Design Lab 4K15 (RMP)
09.00 4K15 — short Input Artivive App & Indesign (optional) RMP
— Wall planning
— guidelines documentations

Afternoon13.00 — Programming basic with (LF)

Graphic Design Lab  
13.00 — 17.00 Independent study

Graphic Design Lab
13.00 — 17.00 Independent study

13.30 — 17.00 (LF)
— Mentorings

— Artivive App (fakultative)
— reacting Poster,
Documentation A4

Week 3Tuesday 10.12.Wednesday 11.12.Thursday 12.12.Friday 13.12.

Graphic Design Lab (RMP
09:00 getting prepared for the presentation, finalizing moving poster

Graphic Design Lab
09.30-11:30 — final Presentation
Project Room IAD

Moving Posters LF & RMP

09.00 — 12.00
pasting the wall

Typo & Icons
10.00 presentations Moodboards
Start Icondesign

Typo & Icons
13.00 — 17.00
Independent Study


13.00 — Programming basic with (LF)

Graphic Design Lab
13.00 — 17.00 Independent study

Typo & Icons
14.00 Kick-Off @
Museum für Gestaltung 

/Week 4Tuesday 17.12.Wednesday 18.12.Thursday 19.12.Friday 20.12.

Typo & Icons
09.00 — 11:30 Mentoring & Presentation Moodboards and state of Icons

Typo & Icons
09.00  short presentations Iconfamiliy
Input Indesign (optional)

Typo & Icons
09.00 — 16.00 Independent study

((10:00 Testing and Installation @ Nieves (LF / RMP)))

Typo & Icons
09.00 — 12.00 Final presentation


Typo & Icons
13.00 — 17.00 Independent study

Typo & Icons
13.00 — 17.00 Independent study

17.00 Graphic Design Lab
(LF / RMP / BS)

presentations @ Nieves

Graphic Design Lab +
Typo & Icons
13.00 — 17.00

RMP: Rebecca Morganti-Pfaffhauser, LF: Luke Franzke, BS: Benjamin Sommerhalder
red texts: not sure with number and Formats... will be set soon (smile)