case study - creative for a cause study submitted by: ... case study | 2008 blue collar theory ......

Case Study

Submitted by:

Bernard J. CanniffeGraphic Design ChairMaryland Institute College of ArtBaltimore, MD

“We are focusing on creating markets,working

with micro lenders and trying to address world

socioeconomic projections.Of course it’s a tall

order—but you have to dream big because the

problem is huge and important.”Bernard J. Canniffe

Graphic Design Chair

Maryland Institute College of Art

The Inclusion of Social Responsibility in the Visual Communications Curriculum

2008

Synopsis from official website<http://www.mica.edu/ABOUT/vision/index.cfm?id=455>

MICA’s curriculum, student services, public programs, auxillary services —every area of our day-to-day operations and long-term planning are guidedby a student-centered philosophy and a comprehensive and regularly revis-ited strategic plan, The Plan for the 21st Century. The Plan’s purpose is toensure the College fulfills its mission while evolving to provide educationalprograms to prepare artists and designers for the challenges and opportuni-ties of careers in the 21st century.

2 MICA The Inclusion of Social Responsibility in the Visual Communications Curriculum

Case Study | 2008

Maryland Institute College of Art

Blue Collar Design TheoryThe understanding of Graphic Design has always been relegated to the sidelines of theapplied arts community. There are a plethora of general interest magazines that show-case architecture, the decorative arts, product and fashion design with little, if any,mention of the role of the graphic designers who help mold and respond to the worldaround them. This is, in part, due to the graphic designers' self-absorbed approach totheir chosen discipline, clients and the general public.

The role of the graphic designer is that of a social responder and we must begin toeffectively communicate this to both the design community and the world.

The Blue Collar theory will help eliminate myths, dispel fears and educate all to a newlanguage and approach for everyone to rejoice in and understand. The Blue CollarTheory places graphic design at the front of the design dialogue.

Blue Collar explores the relationship between the client and designer, explains proj-ects that exemplify this new approach, and more importantly focuses on role of thegraphic designer in society.

Blue Collar is the language of the machine shed, the skilled laborer, the printer, thefarmer, the factory floor and it is liberty.

Bernard J Canniffe 12 January 2003


Case Study | 2008

Blue Collar Theory

Visit <http://bluecollartheory.org/micajhu-design-coalition/>

blue 1 (bloo) a. 1. of the

colour between green and

violet in the spectrum,

coloured like the clear sky

or deep sea. collar worker,

manual or industrial (opp.

to office) worker.

In 2001 a partnership was formed between Johns Hopkins Bloomberg School ofPublic Health (JHBSPH) and the Maryland Institute College of Art’s (MICA) under-graduate graphic design department. The result was an undergraduate graphic designstudio elective course entitled the MICA/JHU Design Coalition. Every year a dedicat-ed group of students help translate important research material to specific inner citycommunities. This course is an effective model of translational research where thebed is truly connected to the bench where the designer becomes the fulcrum.

Students have created socially responsive and creative solutions for a variety ofresearch studies including Type Two Diabetes, Organ Donation, Injury Prevention,Gun Violence, Hypertension, and Lead Poisoning etc. We have also developed cre-ative interventions for many community organizations not directly related to medicalresearch. The scopes of the projects are large and small and for more informationabout specific topics and projects please contact:

Bernard J Canniffe3918 Beech AvenueBaltimore, MD 21211

e: [email protected]: [email protected]

P: 410.889.2904


Case Study | 2008

MICA/JHU Design Coalition

To follow is the course description, objectives, requirements and specifics for theMICA/JHU coalition course.


Case Study | 2008

MICA/JHU Coalition Course

GD 323 Section A MICA/JHU CoalitionMICA/JHU CoalitionMICA/

Course DescriptionA new partnership has been forged between the Maryland Institute College of Art (MICA) and the Johns Hopkins School for Public Health (JHSPH). JHSPH is dedi-cated to improving the health of residents in East Baltimore–the Impoverished neighborhood where the hospital makes its home.

The course will connect MICA students and faculty to JHUBSPH medical researchers and staff. This course will also encourage students to develop, and foster, links with neighbor-hood groups to create meaningful, powerful health messages about such topics as AIDS, sub-stance abuse, hypertension, asthma, and parental care.

This course is a fantastic opportunity to learn more about these profound health issues and to use art and design to deliver content of vital, life saving significance. This is a great opportunity to test the power of art and design in the real world.

Course ObjectivesThe primary objective of this course is to work together with the common goal of focusing on the needs of both community and JHUBSPH. Students will also deliver professional solutions to JHUBSPH that will educate and enrich the community.

Course RequirementsThis course will be managed as a professional design stu-dio with the instructor acting as both mentor and art director. The student designers responsibility will be to listen to the clients needs, interact with the art director, and produce professional (creative and appropriate) design solutions. Student designers will meet expected deadlines, and focus on working together for the common good of the client and community. This course has a real client, a real need, and servicing a real community. There will be times of frustration. There will be long hours, but the end result will be glorious.

It is important that all stages, of each assignment, are completed on time. Unless you are told otherwise, assignments are due at the beginning of class. The work should be professionally presented with thorough investigative work to support your design approach. Late work will not be accepted for grading. Unprofessional behavior (with the client or community) will not be tolerated. Three unexcused absences lower your course grade by one full grade. Four unexcused absences (per College Hby one full grade. Four unexcused absences (per College Hby one full grade. Four unexcused absences (per andbook) equal failure.

Skills Mastered • Team work • Research, analysis and organization • Conceptual thinking and creative problem-solving • Design development • Innovative representation of content • Clear articulation of ideas • Critique dialog mastery

Books Suggested David Simon/Edward Burns The Corner: A Year in The Life of an Inner–City Neighborhood Broadway Books. ISBN: 0767900316

Andrew Solomon. Noonday Demon: An Atlas of Depression. Simon & Schuster Adult Publishing Group. ISBN: 0684854678

Nicolas Bourriaud, Roberto Pinto Lucy Orta Phaidon Press, Inc. ISBN: 0714843008

Hella Jongerius, Louise Schouwenberg. Hella Jongerius Phaidon Press, Inc. ISBN: 0714843059

Peter Hall and Michael Bierut Tibor Kalman: Perverse Optimist Princeton Architectural Press. ISBN: 1568982585

Instructor: Bernard J CanniffeFriday, 9.00 AM-3.00 PM

Room: BR 308e–mail: [email protected] Office Phone: 410 225 2383

Office Hours: Monday 8.00 AM–10.00 AMThursday 2.00 PM–3.45 PM

“You can hold back from will also deliver professional solutions to JHUBSPH that will educate and enrich the “You can hold back from will also deliver professional solutions to JHUBSPH that will educate and enrich the

the suffering of the world. community.

the suffering of the world. community.

Cthe suffering of the world. CYou have free permission

to do so and it is in accordance with your

nature. But perhaps this very holding back is the one suffering you could

have avoided.”

—Kafka

Mark Thomson Social Work: Saatchi and Saatchi's Cause Related Ideas -273 Publishers ISBN 0953812804

John Clay Maconochie's Experiment: How One Man's Extraordinary Vision Saved Transported Convicts From Degradation and Despair John Murray. ISBN 0719560454

Equipment SuggestedIn addition to the standard graphic designer’s materials, you will need to bring the following design kit to each class:

• #11 X-Acto knife and fresh blades • assorted black markers, suggest “Sharpie” brand • masking tape or white/black artist’s tape • a professional work ethic & enthusiastic spirit • storage device(s) • standard black 3-ring binder (3 Inch) for exercises, notes, research, time sheets and sketches (this will be observed throughout the semester and will be part of the grading process for this class)

You will also need to purchase for presentation: • black mounting boards, suggest Letramax (single ply) or Foamcor

Course StandardsLearning will take place through six kinds of experience: • Discussions about historical and contemporary design • Meetings with client/community groups • Projects conducted inside and outside class

• Analysis of student work • Research on historical and contemporary typography • Time management

There are two kinds of analysis of student work:

• Pin-ups are for informal group discussions which use student exercises, proj-ects, and research as touchstones for exploring issues in design. All students must par-ticipate in pin-ups. The point of the pin-up is to look for common themes and problems; examples of successful and unsuccessful solutions will be freely selected from the pin-up wall for discussion. Not every student’s work will be discussed in pin-up, where the goal is to generate dialogue rather than to provide evaluations of individual projects.is to generate dialogue rather than to provide evaluations of individual projects. is to generate dialogue rather than to provide evaluations of individual projects. • Critiques are more formal discussions that sometimes will take the place in a group and sometimes will take place individually. During a critique, every student’s project will be evaluated.

Bring all research, sketches and notes with you to every class. Ask questions when you don’t understand something.

You must attend class and present your work in all pin-ups and critiques. Work produced late or not presented in class will be downgraded and count less towards your final grade. As stipulated in the Student Handbook, four absences will result in an automatic failing grade. Classes will begin promptly.

Course GradesAll assignments must be completed and presented in the specified formats on the due dates given as indicated on the specification sheet. Failure to submit a finished design presentation solution as specified will result in an F for that assignment. Assignments will not be accepted after the specified due date and time.

100-97= A+ 96-93 = A 92-89 = A- 88-85 = B+ 84-81 = B 80-77 = B- 76-73 = C+ 72-69 = C 68-65 = C- 64-61 = D 60-0 = F ADA ComplianceIn MICA's efforts to provide the highest possible quality educa-tional experience for every student, MICA maintains compliance with the requirements

of the ADA and Section 504. Any student who has, or suspects he or she may have, a disability and wants to request academic accommodation must contact: Dr. Kathryn Smith at the Learning Resource Center 443 695–1384 or e-mail at <[email protected]> immediately.

Health and Safety ComplianceMICA has developed policies and practices to ensure a healthful environment and safe approaches to the use of equipment, materials, and processes. It is the mutual responsibility of faculty and students to review health and safety standards relevant to each class at the beginning of each semester. Students should be aware of general fire, health and safety regulations posted in each area and course specific policies, and cautions. Students who have concerns related to health and safety should contact: Quentin Moseley, Environment Health and Safety Coordinator 410 225–2220 or e-mail at <[email protected]>.

Course BreakdownWeek 1 ENTIRE CLASS MEETS (Friday 1 September ) Class Exercise:Research Skills/Time Sheets Presentation:What’s Been Done Before Discussion:Course Introduction Home Work: Research East Baltimore

Week 2 ENTIRE CLASS MEETS (Friday 9 September)

Community Tour: Walking Tour of East Baltimore: Walking Tour of East Baltimore: Presentation: Meet Client(s) at Mens CenterPresentation: Meet Client(s) at Mens CenterPresentation: Discussion:What Do We Have? Home Work: Work on Product(s)


Critique: What do you have? Discussion: How to Interact With Client/Community Home Work: Continue Work on Product(s)

Week 4 INDIVIDUAL MEETINGS (Friday 23 September)

Presentation: Individual Student PresentationsPresentation: Individual Student PresentationsPresentation: Discussion: Evaluation of Strategy/Community Gateways Home Work: Continue Work on Product(s)


Presentation: Individual Student PresentationsPresentation: Individual Student PresentationsPresentation: Discussion: Second Products Home Work: Work on Second Products

Week 6 *INDIVIDUAL MEETINGS (Friday 7 October)

Presentation: Individual Student MeetingsPresentation: Individual Student MeetingsPresentation: Discussion: Evaluation of Strategy Home Work: Continue Work on ProjectWork on ProjectW

Week 7 ENTIRE CLASS MEETS (Friday 14 October)

Presentation:Client Dress Rehearsal Discussion: Evaluation of Strategy Manage The Room/Use of Props and PowerPoint Home Work: Continue Work on ProjectWork on ProjectW

Week 8 ENTIRE CLASS MEETS (Friday 21 October)

Presentation: Client (Location to be determined by student/client)Presentation: Client (Location to be determined by student/client)Presentation:

Discussion: What Did You Learn?Discussion: What Did You Learn?Discussion: Home Work: Work on Project Solutions Mid Term Evaluation Process Binders Completed Time Sheets One Time Sheet per Week (total hours) Last Time Sheet (Grad Total for 9 Weeks) Mounted Boards CD's (Print and PowerPoint for me and client)

Week 9 *INDIVIDUAL MEETINGS (Friday 28 October)

Presentation: What Did You Change?Presentation: What Did You Change?Presentation: Discussion: Reflection on Time Management Home Work: Work on Project Solutions

Week 10 ENTIRE CLASS MEETS (Friday 4 November)

Presentation: What is Working?Presentation: What is Working?Presentation: Discussion: Plan for Final Presentation Home Work: Work on Project Solutions

Week 11 *INDIVIDUAL MEETINGS (Friday 11 November)

Presentation: Individual Student WorkPresentation: Individual Student WorkPresentation: Discussion: Improvements Home Work: Work on Project Solutions

Week 12 ENTIRE CLASS MEETS (Friday 18 November)

Presentation: Individual Student WorkPresentation: Individual Student WorkPresentation: Discussion: Time is a factor Home Work: Work on Project Solutions

Week 13 NO CLASS (Friday 25 November)

Thanksgiving Holiday Home Work: Work on Project Solutions

Week 14 *INDIVIDUAL MEETINGS (Friday 2 December)

Presentation: Second Client Meeting PreparePresentation: Second Client Meeting PreparePresentation: Discussion: Make The Client Choose The One you Want Home Work: Work on Project Solutions For Client Meeting

Week 15 ENTIRE CLASS MEETS (Friday 9 December)

Presentation:Dress Rehearsal Discussion: Evaluate Home Work: Make Changes if Needed Final Evaluation–Part One Process Binders Completed Time Sheets One Time Sheet per Week (total hours) Last Time Sheet (Grad Total for 15 Weeks) Week 16 ENTIRE CLASS MEETS (Friday 17 December)

Discussion: Final Client Presentations Location: TBA Home Work: Rest, Relax, Sleep And Enjoy The Break

Final Evaluation–Part Two Mounted Boards CD's (Print and PowerPoint for me and client)

Professional CritiquesMounting Projects: All projects must be mounted (unless instructed otherwise) on black Letramax (single ply/thickness) board. I suggest that you purchase enough boards at the start of the semester and store them in a safe/clean area

as the college store can run out at the end of the semester. It is also important that you plan to get your projects printed in time to meet the deadline. Do not wait until the night prior to the critique to get your protect printed. Each final project will have 2.5 inch margins on the sides and top, with a 3 inch margin on the base. The project, itself, will be cut out straight, square and be clean from any folds, wrinkles, creases, dirt and glue marks. The cover sheet will be applied on the back to the method suggested below, and cut straight, and clean to the edges of the front of the board. You can either use tracing or any color paper to cover the project, and only use one (do not have two pieces taped in the middle) sheet of paper to cover a project. Every final project wilhave a printed (print out) label attached to the back and be cut out clean, straight, and stuck square to the board. All CD's should be placed in a professional sle. All CD's should be placed in a professional sle. eve (plastic jewel or paper) and be professionally designed with your contact information included. The CD must contain all fonts (not converted to outlines/paths), images and be ready to go to print (CMYK–to go to print (CMYK–to go to print (CMYK if four color process, Pantone-if one or two color, Photographs as TIFF's-to the appropriate resolution, and EPS for illustrations/symbols.

The label will have the following information:

My Name Your Name Course Title Project Title: E.G. Baltimore Reach Project Solution: E.G. Identifier Your e-mail Your Telephone Number Date

front back

back

tape

tape

cover sheet

CARES MOBILE SAFETY CENTER—MICA students produced interior and exteriordesigns for Johns Hopkins Injury Prevention Center. Students initially developed thename and identifier and then the exterior vehicle wrap followed by the interiorgraphics. The CareS Mobile Safety Center travels throughout Baltimore deliveringhome safety advice through experiential displays as well as giving street safetydemonstrations.


Case Study | 2008

MICA/JHU Coalition Student Projects

STEPPIN’ UP—Posters and identifier that promotes a mentor program at an EastBaltimore inner city school. This was a gun violence project where students researchlead to the understanding that there were high levels of student truancy as studentsmade the transition to high school. Not attending school would lead to a life on thestreets and then onto crime. The Steppin’ Up Mentor program connected students toteachers, Hopkins graduate students and parents in an after-school program of life-changing educational games and activities.


Case Study | 2008

OFF TARGET—A series of posters that highlighted the high level of gun deaths inBaltimore and juxtaposed it against the mayor’s campaign slogan to keep the num-bers below a certain level. Students worked with community leaders to send a mes-sage to the city that one death is one too many.


Case Study | 2008

ANTI GANG –GANG—Students developed this photo novella for Mr. EdwardSutton of the Sutton House in Baltimore.

The aim of this publication is to assist Mr. Sutton to prevent America’s youth frombecoming involved in gangs and help promote the powerful work done at SuttonHouse, INC.

Mr. Edward “Ted”Sutton is a man devoted to changing the lives of young men inBaltimore that find themselves hopelessly lost in gang life. A troubled youth himself,Mr. Sutton has been noted as inspiration for characters in the HBO drama, THEWIRE. Ted’s life began to turn around in 1993, and he made a bold decision to change.

“In speaking to people, you either speak life into them, or death into them.”In anarea that speaks so much death, Mr. Sutton is speaking life.


Case Study | 2008

LEAD POISONING MOBILE EXHIBITION—Students translated information on theproblems of children lead poisoning that is widespread in the older houses of theEast Baltimore neighborhoods. The mobile exhibition travels throughout schoolsand community organizations where students can interact and learn about how toclean surfaces as well as understand how dangerous lead is to their bodies.


Case Study | 2008

case study - creative for a cause study submitted by: ... case study | 2008 blue collar theory ......

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