 Rhaid i'n gwael i'r llwyf iawn, dyma'n gwybod i'r cydwyd. Mae'r cyfytlig i ddweud ar gyfer ddod ar hynny y dyma'r newydd yw'r awgyn Da priord, mae'n yn cyrraedd gwahanol yma, mae hynny'n gweithio gwahanol ar gyfer yr awgo, ac mae'n ffordd yw ddod yn ymgyrche bach eich cynnig. Mae'n ddod i ddwy'r droi gwahanol ar gweithio ar gyfer y dweud. Mae'n grwyd o gallu i gwmpas, mae'n bwysig a'r dorff çoenu. Ac y bwysig wedi'i ei wneud fyddai'r modaeth yw'r yfion i cael ei ddigonio ar y llewyddeg yw y gwaith orian a pholwch ar gyfer fyddai'r poddiad yn yr unolion. Yr ymgyrch yn y cyflaid mewn ymwybodol, felly dwi'n meddwl i gael eu cael ei ddigonio ar y llewyddeg mae ymwysig yw'r project peirgyndiau sphereol yn ddigonio ar y llewyddeg yw yn meddl apology hynny, yn ymgyrch ar y llewydde, Cymru'r masylu sydd mis yma eich llunio ymlaen gyda'r unig. Mae'n thredd i'r llunio arweithio'r unig a mi'n gwneud yn hynny a gwahanech chi'n credu a wneud ymddiadau i ddaf ni'n ddaf i dd Mae'r dd diffumpio o'r ddifin flasgwf yn ei ddiddlerfau gweithio, fel o'r ddifn perthifwyllwch a'u ddindig gennych yn arnyn i gynhyrch gyd, mae'n ddindigol cyd-ddiadau i gweithio. supportive layout and between the design fundamentals, and creating a community to support design as a means of interacting with the world, and reinforcing learning going in the classroom, and forming connections between the design fundamentals that they will learn in earlier stages, the program, and what they're doing later in the program, and creating community that and what they're doing later in the program and in the career pointing community feeding the language that gets that the students robbared the students talking to each other. So I'm ifa. I'm just going to talk you through today just basically the parts of the project, it's a pretty small scale project so it shouldn't take too long. So I'm going to just tell you about the rationale or the premise for why we did this, the strategy that we employed in coming up with the identity system, the substance of the film club itself, why we picked what we picked to show, the outcomes and how we measured them and then future plans for extending this. So there's a few different things playing into this. So right now I teach at the School of Visual Communication Design in Kent State and Kent State is a university so this is just one school within a college, within a whole body of colleges. So we're constantly kind of juggling for a position for spaces. So we've always traditionally been housed in the art building, which seems kind of strange given that we're designed, but we're finally almost getting our own building. But right now, for the last three years that I've been there, we've been split between two spaces. So we have a problem of student community that we are observing more and more as the time goes on, as the distance gets longer between that one unified space and what we're aiming for. We're told next year, so fingers crossed, but until then we are seeing that the students are coming to class and leaving immediately afterwards. They're becoming commuter students. They're not really inhabiting the space. They're not using the time around classes to discuss their work, to continue the conversation, things like that. The sort of things that I remember from my undergraduate experience and graduate experience were the things that made me make big decisions about what I was working on in my projects and made what I was doing better. This is kind of pulling on that idea of that Rob Roy Kelly articulated really well that learning is not an automatic consequence of teaching. So we can put all of the structures in place in the curriculum, but there needs to be time for that to percolate. And the best way for that to percolate is through reinforced learning that happens and the kinds of conversations that happen outside of class over a beer or in the middle of the night. Another part of this is that I wanted to, I'm noticing a lot, an increase in student anxiety. Graphic design and visual communication with its increasingly complex nature is getting more and more difficult to parse even for a practising graphic designer with tons of experience. But there is, and I'm sure you guys are aware of this and have noticed it yourself, a lot of anxiety out there and I'm noticing it a lot with my students in all of the levels. So from freshman right up to seniors and VCD account has their own Twitter account for this specific purpose, which is called Kent's VCD problems where they just basically go and talk about how awful it is to be part of VCD. And the AIJ has also released things like helping students deal with stress and anxiety as just a normal course of education. So this is my dog Herbie and there's a reason why he's here because basically this project was intended to get the students to think about their skill sets and use their senses as a way to interact with the world and like playing with a dog calm down those nerves. It also pulls in the ideas of Scott McLeod, this is understanding comics, where he talks about how all media convert thoughts into forms that can traverse the physical world. So as graphic designers we are using a skill set that it doesn't really matter which medium we're working in. McLeodon also said something similar, all media are extensions of some human faculty. And this kind of is well synthesized by Gunnar Swanson in his graphic design as a liberal art where he talks about the danger of pigeonholing our students into graphic design careers where they're not really made aware that the skill sets that they're using across a range of humanities disciplines from communication, expression, interaction and cognition, so psychology, all other kinds of disciplines that they're maybe not aware that they are equipped with. So the idea behind this project came about when another part of the reason for this starting was that in graphic design one, which is our first graphic design class, the first time that they integrate their typography and visual skills and formal principles, we have a project where the students have to pick somebody who has significantly contributed to culture in some way. And Ben, who is my co-collaborator, a sophomore in the program, picked Stanley Kubrick because of his interest in film. And I've noticed that when we run this project, whenever a student picks a director, and particularly those kind of directors that we would call autors, the conversation explodes around this project. The students do better work because they're able to quickly identify what the visual language is that they're dealing with across a range of pieces. And then they can synthesize that into a piece of graphic language of their own that translates what's happening there. And then because the students have oftentimes seen these films, they have a lot of conversation just about the subject matter itself. So it creates a kind of bonding and it improves the communication and criticism in the critiques. So Ben, in this project, he picked Kubrick and he just picked five of his main works that he thought to find the author. And he made the books all be sequentially larger, and you can see that they're all supposed to have their own individual identity like the films, but that they're connected in some way. And then they were bound together and you can see that he's still trying within the layouts themselves to create difference, but also integration of the graphic language. So this is something that we wanted to pull through into the identity. So taking Ben's interest in film and he would, every class, which we meet twice a week, he would have a new film to talk to me about. And he wanted to learn more about identity design and that's how we started out with this independent city. And we wanted to pull that into the identity design. So, and the community building aspect of this came about when we started to talk about the concept of mise-en-scène that is present in film theory and also in theatre about inhabiting a space and completing gestures in your mind's eye. So when we watch a film together in the cinema, we kind of follow through on what's happening there. And we're doing it together. So we're immersed in the shared experience, kind of like the retreat. And we're observing. We're actively, not passively, taking part in something that is happening in our visual landscape and applying our critical thinking. So we thought, well, this would be a good place to start a community because it gives us physically an ownership of the environment. So we'll pick a space where we can make a cinema happen. The students can then inhabit that space and take ownership of it. By doing something together and immersing themselves together in a shared experience, they will counteract their anxiety. And by reinforcing their skillset and using their skillset applied to a different kind of medium, they'll see the value of it outside of what they're doing in their classes. So the concepts involved in the identity design itself then were this idea of the movement image. So you'll see this in a minute when I show you. But this is a delusion concept about basically that we fill in the gaps between the frames. The idea of frames of reference, which you saw a little bit in the Kubrick book, that we perceive the world through a specific lens. And that everybody in the community has something to bring to the table. And that each of these authors or filmmakers has an identity and a perspective on the world. And that the individual characters in the film has an identity and perspective. And that as the consumers of this information, we might have the same. So this is the identity that Ben came up with. We kind of worked collaboratively, but it's mostly Ben, called points of view. So the idea here being that we were attacking the films from different points of view, that the students would have different points of view, but also that it's a place to come together. So the framing aspect here is sort of supposed to look a little bit like a space. Ben came up with the idea to take a frame from each of the films and then distort it. So that and colorize it so that it doesn't really look like the film at all. And the idea being here that we sort of drip feed the information to the students and posters, that they see it, they see the framing, they see a quote, and they don't really understand what's going on. And they want to know a little bit more. So they're trying to interpret what's in front of them. So here are the posters. So we played, we picked the movies very specifically. We played Drive, which was in part because I was Ryan Gosling and we wanted to get them interested in the start. And then Moon. And you'll see that the posters are kind of ever so slightly shifting, so each one is slightly different. And they don't tell you very much about the film itself. They just ask you a question. Do you have a point of view on this? We played Wes Anderson's Grand Budapest Hotel, Jeanette Carroll's Delicatessen, American Psycho, Little Shop of Horrors. That was my request. American Beauty. And then to finish off the semester, airplane naked gone. We made some pins for them just to make them feel good, I guess. And they flew out so I don't have any pictures of them wearing them. We made a set of response forms for them to fill in and thought very carefully about the kind of language that went into them. So we wanted to see if this was actually reinforcing their learning and what they thought about the film club in general. And if they were seeing it in the way that we wanted them to see it. So the reason why we picked these films, and this is arguable because I'm sure some of you will disagree with the idea that some of these filmmakers are otters. But the idea was that they were all filmmakers who created a graphic landscape and a landscape of meaning. So through their use of things that we're familiar with in graphic design, colour palettes, pacing of information, stylistic choices and motifs, maybe not cinematography but composition and sound design, they were creating a visual landscape and a world for us to inhabit. And Michael Rock has already discussed the parallels between graphic authorship in design and in film. And he describes the film author as somebody who demonstrates technical expertise and has a stylistic signature that is demonstrated over the course of several films. That demonstrates a consistent vision and evokes a palpable interior meaning through his work or her work. So I'm not going to go through all of them but just to kind of briefly explain why we picked these ones. Moon, I don't want to ruin the film for you but it basically makes very good. There is one character in it, Sam Rockwell, and it talks about the idea of originality and identity. It's an astronaut in space and basically the set design and the sound design has as much role to play as Sam Rockwell's character. And the colour palette is very paired back and typography plays a big role here too. And there is actually an identity that plays throughout the film, the lunar industries here. Drive, again another film that uses composition and colour palettes really well. And pacing of information so it goes from these very fast paced chase scenes to very slow intimate moments. The use of the light sources to direct our eye through the composition helps to create a sort of seediness on the one hand and an intimacy on the other which is representative of the content. Little Shop of Horrors was really just for fun but actually Frank Oz makes great use of motifs and the artifice in this film showcases the idea that we don't necessarily have to put somebody into a kind of suspension of disbelief for them to actually take part in the translation. And it has a bit of humour, some of the content was a little bit dark like Delicatessen. If anybody's seen that film it's about a dystopian future where people eat each other. So we're trying to counteract anxiety but there is humour in this film and the thing that brought us to want to bring this in is that Jeanne and Carol have a great body of work with a very strong stylistic signature. And this film makes great use of the idea of creativity as a tool for hope and community. And again I just encourage you to watch the film because I can't play it for you sadly. So this kind of plays off of something that Martin Scorsese said, this whole project in The Persisting Vision where he said that we need to educate young people to understand the difference between moving images that engage their humanity and their intelligence and moving images that are just selling them something. And I would argue that that's the same thing that we need to do for graphic design students or visual communicators that they have a set of skills that are transferrable and that they can use in many different ways other than just creating products. So the outcomes of this project in terms of the pedagogical aspects, Ben and I worked on identity design, experience design and survey design together and we looked at the methods of community building and we had long discussions about why we would pick those films and in doing so brought in film theory and critical thinking. The community outcomes were an increased visual literacy and interaction between the different levels of the students. Cameraderie and engagement which is difficult to capture in an image but it was great to see and then applied learning. We created a Facebook group and we got 59 page likes which out of the proportion of 450 students is about 15% of the student body which in seven weeks we were pretty happy with and each week we would post what was coming up the next week and try to get them engaged and excited and usually post the trailer. In the feedback forms the things that really jumped out as being encouraging about keeping this going next semester were just the kind of language that was used so one of the questions was what could we improve on next time round and the response was we just need to figure out how to get more people to attend and so that made me really good that they already were taking ownership of the club that they didn't see it as something that their teachers making them do but this was something that they enjoyed. In another one of the feedback forms we just asked them how is the visual language being created or how is this thing being evoked and we got a ton as you can see here of very assertive opinionated responses symmetry is a crutch for weak designers identifying the type, looking at the type treatment and having good responses to the four. So future plans, I'm hoping to develop that we get such a good response and the students really did enjoy it and I always asked what the next film was in class and things like that. The future plans for this are to turn it into a special topics class or a workshop where we focus on graphic literacy, transferability of skills and the idea of design authorship and also I've teamed up with our local artist cinema to get some field trips going and have the students interact with a broader community to do with visual language. So in just getting back to what Martin Scorsese said, same piece, that when he talked about what got him into cinema in the first place it was watching films with his family and he said that in watching them together they were experiencing something fundamental together, living through emotional truths on the screen often encoded for things that we normally couldn't discuss or wouldn't discuss or even acknowledge in our lives and I think that that's something that happened and I noticed it, I noticed a marked decrease in the anxiety in the room the students would hang out beforehand, we got pizza and I brought herby and they played with him and they talked to each other and you can't really see what's going on in here but this is before one of the movies and they're just starting to filter in and that's a line of Macs, Macbook pros sitting side by side and they would work as they were watching the movie and then afterwards they would come ask new questions about what they come up with and the idea was really a lot of the response forms to just ask them to respond to the movie in some way so I've got lots of doodles, pictures of the monster in Little Shop of Horrors and colour collages just where they were letting their creativity go a bit wild so that they could take the night off and then come back to their work the next day a bit refreshed even though they hadn't left the building that they are in for their classes which is all that we were aiming for. So that's it. Thank you for your attention.