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Week 11, Class 2

Type Manual

I need to apologize again: I saw some of the work that was made ready for the show and reacted because I felt I had not supported enough of you as well as I should have. You did the work in good faith (well, very nearly all of you) and I felt that I did not get to show the full brilliance of the class because I did not do enough of my job as an instructor.

The first thing I have to examine as a designer and an educator is my own part in this: the assignment was an experiment and you have done everything i asked with great verve. I did not manage my time well and did not get to help people who were struggling enough. We will wrap up the manual and I will make sure you have a copy of it by the last day we meet.

Classwork

  • Crit of manifestos:
    Let’s see what is hanging you up, what is coming easily, what else you need to do.
  • Setting up a full bleed
  • Troubleshooting

Schedule:

May 1:
You need to finalize your manifestos for print next Friday so we can send the files to FedEx that day.

May 4:
That next Monday we will assemble the manifestos and look over the finished results

We will also start the animated/interactive version

May 11:
Animated/interactive version  critique
Poster design charette

May 15:
Send me your final interactive pieces
FIELD TRIP, unless something happens

May 18:
Final exam

Author:

Libby Clarke is an artist, designer, and educator living in Maplewood, NJ. She received her BFA in Printmaking from James Madison University and her MFA in 2D Design from Cranbrook Academy of Art. Professionally, Libby has worked as an interaction art director for over 15 years for such companies as Agency.com and Scholastic.com. She was an Assistant Professor at the New York College of Technology in Brooklyn, New York. She also served as the Director of the Studio School of the Visual Arts Center of New Jersey. As an artist, Libby has produced a series of multi-media conceptual products under the name Monstress Productions since 1996. She gives workshops and lectures across the United States on the intersection of art, activism, and technology, and her pieces are exhibited and collected internationally.

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