School of Art Identity: Signage System

School of Art Identity: Signage System

School of Art Identity: Poster
School of Art Identity: Column Decorations
School of Art Identity: Curriculum Booklets (Embedded Booklet to Follow)
 LSU SCHOOL OF ART
seeing a bigger picture

Graphic Design
Undergraduate BFA

LSU SCHOOL OF ART

art.lsu.edu

123 Art Building

Baton Rouge, LA 70803
t: 225 578 5400
f: 225 578 5040

New tools, in the hands of creative and

well-informed conceptual thinkers,
have changed the world and are
transforming the way we think and feel.

Graphic Design 2010 – 11 Undergraduate Prospectus 1

 Undergraduate BFA
Graphic Design

Concentration
The graphic design curriculum prepares students to meet many
professional challenges through a broad range of educational
experiences in typography, print and editorial design, informa-
tion design, digital imaging, packaging, and environmental de-
sign, identity design and branding.
  Whether they choose to pursue independent professional
practice or become members of a creative team in design, adver-
tising, corporate communications, education, publishing or the
non-profit sectors, our students are equipped to be creatively in-
spired and thoughtfully analytical in addressing issues of value
and meaning in their work and their lives.
  Admission to the graphic design concentration is selective,
based on a very competitive portfolio review. We offer 3-year
MFA and BFA degrees in Studio Art, and have approximately
120 majors in the undergraduate BFA program and up to 10
graduate students in the MFA program. During their experience
in the program, many students achieve recognition in design
competitions at the regional, national, and international level.

Group project, 4526 Prepress Production Techniques

  We have a thriving internship program and regularly bring
notable graduates and nationally renowned guest speakers to
campus. The Graphic Design Student Association (GDSA)
regularly holds extra-curricular field trips and lectures, and the
Graphic Design Student Office (GDSO) is a highly successful
student-managed design office. We are also associated with
AIGA (The Professional Association for Design), with a student
chapter and a regional affiliation with the New Orleans AIGA.

2 LSU SCHOOL OF ART seeing a bigger picture Graphic Design 2010 – 11 Undergraduate Prospectus 3
 Admissions Jordan Pope, 2564 Graphic Abstraction

Admission into the program for the Bachelor of Fine Arts in Studio Art is a selec- Ashton Despot, 2544 Letterforms

tive two-part process. The first phase occurs when a student who is admitted by the
Office of Undergraduate Admissions indicates a preference for studio art, where the
primary tools for selecting candidates are high school academic gpa, and ACT or
SAT scores. However, students who think they would be better represented with an
existing portfolio should contact the School of Art office to schedule an on-campus
interview.

Foundation Year
The second phase of the admission process for the BFA in Studio Art takes place
upon completion of the freshman year. Students submit a portfolio of creative work
completed during the required first-year courses. Students who successfully pass Ming Talle, 2544 Letterforms

this review may pursue the three-year concentration in Graphic Design and any stu-
dio art minor concentration listed in the LSU General Catalog.
  Details concerning the Foundations Year are available in the Art Office or on the Sophomore graphic design students learn
School website: www.art.lsu.edu. about visual communication by exploring
color, letterforms, and graphic abstraction.
  The Foundations Program is comprised of a total of eight courses (24 credits).
Four Foundation Year courses are required for all students in the School of Art: ART Group project, 2554 Introduction to Graphic Design

1011, 1012, 1360 and 1847. Students may select an additional four courses from the
recommended list of seven options.

David Achee, 2552 Color Design

4 LSU SCHOOL OF ART seeing a bigger picture Graphic Design 2010 – 11 Undergraduate Prospectus 5
 Maggie Normand, 4526 Prepress Production Techniques
Portfolio guidelines
Melinda Thiessen, 4526 Prepress Production Techniques

Once they have completed their foundation work, applicants to the Bachelor of Fine
Arts program must submit a portfolio directly to the School of Art to be evaluated by
the studio faculty. Students interested in majoring in a specific area concentration will
be notified in writing once the evaluation has been made.

Content Format
Work may be in any medium, may be Portfolios should be submitted in digital
finished or in sketch form, and may be form. Each image should include name,
from an assigned class project or be self- medium, size, and date of completion.
directed. A portfolio should consist of 12   Include digital images of work on a
to 20 examples of a student’s work, com- CD (min 600 X 800 @72dpi).
pleted during the freshman year, which   Include a minimum of 10 pieces from
represents as broad a selection as possi- the classes listed below:
Laura Theriot, 4527 Applied Typography
ble. This must include a self-portrait draw- ART 1011 (1008 for non majors)
ing from life, work in both color and black ART 1012 (1009 for non majors)
David Achee, 4527 Applied Typography and white media, and three drawings from ART 1847 (1010 for non majors)
observation. Please do not include work
ART 1762
copied from photographs. Other images
ART 1661
may represent paintings, design, sculp-
ture, photography, prints, or crafts.
Note: Transfer applicants seeking admission to
a specific concentration are further required to
include additional examples that reflect experi-
ence in that discipline.

Melinda Thiessen, 4527 Applied Typography Lauren Barron, 4526 Prepress Production Techniques

6 LSU SCHOOL OF ART seeing a bigger picture Graphic Design 2010 – 11 Undergraduate Prospectus 7
 Curriculum
LSU is an accredited institutional member of the National
Association of Schools of Art & Design. Through the College
of Art + Design, the School of Art offers the professional BFA
degree in Studio Art with a concentration in graphic design.

Graphic design students critique their work

Foundation Year Junior Year

Spring Semester
Fall Semester Fall Semester Spring Semester
ART 1360 Introduction to Printmaking
ART 1011 Art Structure ART 4526 Prepress Production Techniques ART 4551 Graphic Design II
ART 2050 Digital Art I
ART 1847 Drawing ART 4527 Applied Typography ART 4576 Digital Imaging Techniques
ART 1848 Beginning Figure Drawing
ART 1012 3D Design ART [4561 Survey of Graphic Design] ART Studio Art Elective
ARTH 1441 Art History Survey II
ARTH 1440 Art History Survey GED Natural Science GED Social Science
GEDm 1029/21 Mathematics
GEDm 1001 English Composition GED Humanities GEDm Natural Science

Sophomore Year Senior Year

Fall Semester Spring Semester Fall Semester Spring Semester
ART (Foundation Course) ART 2995 Basic Photography ART 4555 Graphic Design III or ART 4555 Graphic Design III or

ART 2554 Letterforms ART 2554 Graphic Design I ART 4564 Senior Graphic Design ART 4564 Senior Graphic Design

ART 2564 Graphic Abstraction ART 2552 Color Design ART 4567 Interactive Multimedia Design ARTH 44--

GED Analytical Reasoning ARTH 24-- ART Studio Art Elective ART Studio Art Elective

GED English GED English GED Humanities GED Natural Science

GED Natural Science

8 LSU SCHOOL OF ART seeing a bigger picture Graphic Design 2010 – 11 Undergraduate Prospectus 9
 Other aspects of the curriculum

Art History
The goal of the Art History curriculum is to make
artistic traditions relevant and to celebrate the
masters of both past and the present in a way that
enables students to develop an understanding of
the history and criticism surrounding the studio
area(s) in which they practice. The coursework en-
ables students to understand their own place in the
continuum of culture and to use their knowledge
of past periods and styles to inform their analysis
of present and future projects, problems and prac-
tices.
  The Art History requirement is comprised of
a total of five courses (15 credits)
Art History & General Education courses
are designed to produce students who
have developed:
» an effective command of written and
spoken English;
» an informed appreciation of the roles Graphic Design Student Association members create
a mural for the International School of Louisiana
of the arts and the humanities;
» a familiarity with the nature and
J. Chase Freeman, 4527 Applied Typography function of the social sciences;
» an appreciation of the methods of
critical inquiry;

Liberal Arts and Sciences » an ability to deal with moral and ethi-
In the 39 hour General Education curriculum students learn to think for themselves in cal issues;
new ways about the age-old questions of existence which touch upon each of our lives
» a reasoned basis for selecting a ca-
Senior graphic design student David Achee working
in the Graphic Design Student Office
and find their way into every work of creative expression, becoming more inquisitive,
reer path;
inventive and productive artists in the process.
  The General Education requirement represents a conviction on the part of the » an understanding of other cultures
faculty that all students need to reason logically, communicate effectively, and relate and other times; and a comprehen-
to the world around them. While courses completed in the studio arts develop spe- sion of how knowledge is acquired
cific knowledge and skills in a chosen profession, general education courses not only and applied.
enhance awareness of the world and the people in it, but also foster an appreciation
of the arts and humanities, and provide a basic understanding of mathematical and
scientific principles. Students working in the digital studio

10 LSU SCHOOL OF ART seeing a bigger picture Graphic Design 2010 – 11 Undergraduate Prospectus 11
 The Amalgum
Crossover Line: The “Oh My God... I’m
A Freaking Nerd” Line:
A line of demarcation
in which the collector The final line of demarcation
has tapped out the in which the collector has
resources of the Marvel come to the self realization
Amalgum. A Bleed has that he has seriously
begun to occur in which become a freaking nerd.
DC comics (though It’s sad. Upon realization
to never have been of this the collector will
of any interest) are now make a decision to either
considered for purchase. sell his collection off or
break with reality, losing
It should be noted that all friends, family, and
at this line the collector parters.
has begun to admit that
he might have a problem. It should be noted that
Seriously, DC? Come On!!! at this line the spouse
is probably begining to
draft divorce papers
secretly. Get rid of the stash!

The Angered Spouse

Line:

A line of demarcation in
which a partners spouse
begins to ponder about
setting fire to the whole
collection if it continues
to grow and/or not be
sold.

It should be noted that

if something is not
On Occassion titles may have cross overs. In these cases classification falls onto the actual title and/or characers in them. immediately done to
lower the overall
collection soon one
may run the risk of being
killed in one’s sleep.

Graphic Novels

Although appearing as a single book graphic novels are

actually a series or collection of a particular comic arch
put into one volume being unywhere between 500% to
1000% more expensive than a single comic. Ususally
one book will represent between 6 and 10 comics.

Although it should be noted that older graphic novels got

more “bang for your buck” with averages between 8 - 12
comics (usually an arch would last a year or 12 issues)

The “I Really Shouldn’t Be

Spending My Money On
This Right Now” Line:

Learning Outcomes for all students in the

A line of demarcation that
denotes funds have been
overspent. Collecting has
become an addiction.
Either due to engrossing
story telling, Arch crossing
titles, new artists, etc. The
total amount of funds
spent should bot excede
this point

It should be noted that

School of Art
at this point meals may be
skipped and spouses may
begin to ask the question:
“Where is all our money
going?”

Group project, 4514 Experimental Design

The Artist Appreciation
Line:

A line of demarcation that

denotes approximately
Students graduating with the BFA in Art demonstrate
where a collocter crosses

that they have developed:

the realm of merely
collecting comics due to
their love for art and
begins also collecting for
Bronze Age Comics: the “Soap” story telling.
Comics collected via
purchase on actual It should be noted that
release dates at this point the fact that
collecting is a small hobby
can be controlled, contained,
and even hidden.
Silver Age Comics:
Comics collected via
purchase by parent
or purchase after
actual release dates.

» a portfolio of original work suitable for either the pur-

Golden Age Comics:
Comics collected via
purchase after actual
release dates.

suit of graduate study or professional practice in their

The chart above represents spending habits. Precisely comics bought in sales transactions via the internet and/or local shops. It should be noted that from years 1978 - 1991 all
area of concentration;
comics were purchased after their origional publication dates, but were purchased non-the-less. They have been included into this chart because or purchase. Although more
comics exhist in the collection they are not shown in the above chart because they were aquired without currency transactions, either by gifts, or inheritance.

Comic Book Collections can be very profitable. Obviously they become more valiable with age, although popular titles are more expensive but only if minimal amounts are avail-
able. Collectors often follow certain “titles” or artists. My initial reason for buying and keeping comics was due to my love for unique art. Mark Sylvestri, Chris Bachelo, Jim Lee, Jeph Due to EXTREME amounts of Nerderdom all numbers

»
Loeb, and Grant Morrison are among my favorites. But at some point I crossed the Artist Admiration Line and a never ending spiral into Nerdinness innebitably followed. Now I have been left off this chart. Collection also excludes
hate my life amd I must stop... comics either inherited or exchsnged as gifts.

an ability to conduct research and to synthesize solu-

What Have I Done Poster Designs . 2010 . All Rights Reserved .

Eddie Laviolette, 4576 Digital Imaging Techniques

tions to artistic, technical, and conceptual problems

within their area of concentration;

» an understanding of art and design principles and

skill in artistic, technical, and conceptual decision
Sara Fradella, 4567 Interactive Multimedia
making;

» the experience to evaluate work in their field, includ-

ing their own work, using professional terminology;

» an eye for significant historical and contemporary

cultural trends and styles that affect their work;

Student mock interviews, 4564 Senior Graphic Design

» the skills to communicate their ideas professionally
and connect with their intended audience using rel-
evant visual, oral, and written presentations;
John Mark Lawler, Graduate Thesis
» professional and social behaviors necessary to coop-
erate and compete successfully.

Jessie Wong, 4564 Senior Graphic Design

12 LSU SCHOOL OF ART seeing a bigger picture Graphic Design 2010 – 11 Undergraduate Prospectus 13
 About the faculty
Lynne Baggett Associate Professor
Lynne Baggett’s work is inspired by the incised letterforms found on stone
grave markers in the British Isles c.1600-1800 AD. She has lectured on this
subject for the Association Typographique International (ATypI), St Bride
Printing Library in London UK, and the Association for Gravestone Stud-
ies. She has received grants and fellowships for her research including a Mississippi
artist’s fellowship and an LSU summer stipend research grant. Her graphic design
work has received recognition from AIGA and the American Advertising Federation.
Her work has been exhibited in Alabama, Louisiana, Maine, Mississippi, New York,
Ohio, Pennsylvania, South Carolina, Tennessee, Texas, and in the United Kingdom.
Courtney Barr Assistant Professor
Courtney Barr received an MFA in graphic design from East Carolina Uni-
versity in 2008. She has taught courses in a range of topics within graphic
design including typography, interactive design, and letterpress printing.
She has worked in the professional design studio environment and she
strives to let that experience enrich her teaching. Her work reflects her special passion
for information design and map-making. She is also a printmaker, and creates letter-
press prints using LSU’s extensive collection of wood and metal type. Her work has re-
ceived recognition from AIGA New Orleans and has been published in The Big Book of
Green Design (2009).
Gerald Bower Professor
Gerald Bower is a professor of art in graphic design. His teaching has
concentrated mainly in publication design. He is a past president of the
local American Advertising Federation. He is the recipient of the Pete
Goldsby Award, the Baton Rouge advertising industry’s highest award. He
has been recognized for his work as an educator in the field of graphic design at the
regional level. He was the recipient of the Don Hileman “Teacher of the Year” award in
1990 by the 7th District of American Advertising Federation and the Bolton-McVicar
award in 2007.
14 LSU SCHOOL OF ART seeing a bigger picture
Paul Dean Associate Professor
Paul Dean teaches typography, color theory, and graphic design history.
Paul studied at the University of North Carolina, graduating in 1980, with
a bachelors degree in Radio, Television and Motion Pictures. He received
an MPD (Master of Product Design) degree from the North Carolina State
University’s College of Design in 1986, just as that school’s graphic design program was
emerging. He has also taught at Southwest Missouri State University. He reads a lot,
enjoys crossword puzzles, and has a blog that focuses on typography, color, and life in
general at www.djmisc.com.
Larry Livaudais Instructor
Larry Livaudais holds a BA in Advertising Design from the University of
Louisiana at Lafayette and an MFA in Graphic Design from the University
of Florida. Postgraduate studies included 3 years of courses in humani-
ties and painting. As a practicing professional, he has over ten years of
award-winning professional experience in graphic design. He began teaching at Loui-
siana State University in 1996. With a background in painting, illustration and graphic
design, Livaudais presently serves as a multi-disciplinary instructor in the areas of art,
architecture, graphic design and digital imaging.
Rod Parker Director of LSU School of Art
Born in England, Rod studied Typography and Bookbinding at the Lon-
don College of Printing. Postgraduate work in scholarly publishing in the
USA led him first to magazine and book design then to identity design
and branding for UK and European companies. In 1985 he founded a Ba-
ton Rouge based design firm and joined the faculty of the School of Art in 1995. Rod
helped launch GDSO, our student run design unit, and is a founding member of AVA-
TAR —Arts, Visualization, Advanced Technologies and Research. As Director of the
School of Art since 2008, he has helped establish the School’s Digital Art program.
Graphic Design 2010 – 11 Undergraduate Prospectus 15
School of Art Identity: Postcard
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dents and faculty, the School of Art provides its students

cal and creative practice that takes full advantage of the

the freedom and flexibility to develop a rigorous theoreti-

art.lsu.edu
With an eclectic body of national and international stu-

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Painting and Drawing

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Graphic Design

Photography

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entire studio arts program.
Printmaking
Digital Art

Sculpture

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Ceramics

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dalartschooKtalachooKtchooKtrtschools
lifestyle that is uniquely suited to the artistic temperament.

some of the country’s finest artists. Here, students develop

The high ground above the Mississippi River—in a place
the Native Americans called Red Stick—is an environment

Here, undergraduate students study and collaborate with

where landscape, climate, history and culture allow for a

their talents and refine their skills in a semi-tropical setting

that provides fertile ground and unlimited material for an

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active imagination.

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LSU School of Art - 123 Art Building Louisiana State University Baton Rouge, Louisiana 70803 (225) 578-5411
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LSU SCHOOL OF
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School of Art Identity: Magazine Ad

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