California University of Pennsylvania
Guidelines for New Course Proposals
University Course Syllabus
Approved: 2/4/13
Department of Art and Design
A.

Protocol
Course Name:
Course Number:
Credits:
Prerequisites:

Graphic Design Studio 4
ART 428
3 (repeatable to 18)
ART 127, Introduction to Graphic Design, ART227,
Graphic Design Studio 1, ART 327, Graphic Design
Studio 2, ART 427, Graphic Design Studio 3
Maximum Class Size (face-to-face): 22
Maximum Class Size (online):
(Choose which one is appropriate or both if applicable)
B.

C.

Objectives of the Course:
1.

The students will be able to factor into the creation of their designs the
following concepts, client relationships, budgeting, project continuity, and
idea conceptualization.

2.

The students will be able to factor into their work the following
professional concerns: legal rights and issues, new technology issues,
pricing and marketing artwork, salaries and trade customs, graphic design
prices, multimedia prices and standard contracts and business tools

Catalog Description:
This course is designed to develop advanced graphic communication concepts
and skills. Emphasis will be placed on client relationships and professional p
ractices.

D.

Outline of the Course:
A.

The professional relationship
1. How Artwork is Commissioned
2. Representatives
3. Subcontracting

4.
5.
6.
7.

Brokers
Employment Agencies
Sources of Talent
Ethical Standards

B.

Legal Rights and Issues
1. Copyright
2. Work for Hire
3. Rights of Celebrity and Privacy
4. Moral Rights
5. Resale Royalties
6. Original Art
7. Fair Practices
8. Trademarks
9. International and Canadian Copyright

C.

Professional Issues
1. Deductibility of Artwork
2. Guidelines for the Interpretation of Sales Tax Requirements in
Pennsylvania State
3. New Technology
4. Employment Issues
5. Cancellation and Rejection Fees (“Kill Fees”)
6. Speculation
7. Contests and Competitions

D.

New Technology Issues
1. Professional Issues for Graphic Design and Illustration
2. Output methods
3. Pricing Considerations for Graphic Design and Illustration
4. Legal and Ethical Issues
5. Health Issues
6. The Labor Situation

E.

Pricing and Marketing Artwork
1. Preparation
2. Negotiation
3. Keeping Track
4. Collecting

F.

Salaries and Trade Customs
1. Employment Conditions

2.
3.
4.
5.

Starting Salaries
Selected Job Categories
Surface/Textile Designers
Game Development/Multimedia

G.

Graphic Design Price and Trade Customs
1. Client Relationships
2. Design Proposal
3. Getting Started
4. The Agreement
5. Trade Practices
6. Corporate Graphic Design
7. Chart and Map Design
8. Environmental Graphic Design
9. Advertising and Promotion Design
10. Collateral Advertising Design
11. Display and Novelty Design
12. Publication Design
13. Book Jacket Design
14. Book Packaging Design
15. Lettering and Typeface Design
16. Retouching and Photo-Illustration
17. Production Artist

H.

Multimedia Prices and Trade Customs
1. Markets
2. Contract Terms
3. Pricing
4. Project Team
5. The Proposal
6. Website Design
7. Computer Games
8. Software
9. Other Multimedia Markets

I.

Standard Contracts and Business Tools
1. Purchase Orders and Holding Forms
2. Writing a Proposal
3. Parts and Phases of a Proposal
4. All-Purpose Purchase Order
5. Artist-Agent Invoice

6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Da.

Artwork Inventory Form
Computer-Generated Art Job Order From
Digital Media Invoice
Graphic Designer’s Estimate and Confirmation Form
Graphic Designer’s Invoice
Licensing Agreements
a.
Short Form
b. Long Form
Magazine Purchase Order for Commissioned Illustration
Multimedia Job Order Form
Nondisclosure Agreement for Submitting Ideas
Website Design and Maintenance Order Form

Client Relationships
The following section is to prepare the student for continuing growth and
interest in Graphic Design after they have left academia. The student will
learn to be self-sufficient; to be able to brainstorm alone and with groups;
to be able to communicate with co-workers and clients on both the creative
and professional levels; to be their own critic and to be responsive to
outside criticism; to learn to handle the problems they will face in the
communications field.

A.

Getting to the Message
1. Thinking with an Open Mind
2. Controlling the Creative Process
3. Knowing Who the Client is

B.

Preparing the Client for Creativity
1. The Client as a Creativity Gatekeeper
2. Managing Expectations

C.

Beyond the Client Interview
1. Decompressing After the Interview
2. Looking Beyond the Client for Information
3. Defining Boundaries for Creativity

D.

Processing the information
1. Understanding and Clarifying the Message
2. Defining the Objective
3. Developing the Design Criteria
4. Spinning Information

E.

Brainstorming Alone
1. Catching the Ideas
2. More is Better
3. Following Trails of Ideas
4. Looking to the Obvious
5. Know When and Where You Get Most of Your Ideas
6. Give Yourself Some Parameters and Constraints
7. Combining Ideas to Make New Ones
8. Extremes and Opposites
9. Know When to Go for a Walk

F.

Brainstorming in a group
1. Creating a Haven for Innovation
2. Looking for Creative Potential in All Projects, Big and Small

G.

Creative Word Play
1. Listening to Words
2. Organizing With Words
3. Exploring Images
4. The Doodle and the Sketch
5. Choosing Tools that Implement Creativity

H.

Beyond Ideas
1. When Do You Stop Brainstorming?
2. The Voice of Judgement
3. Forming Ideas Into Solutions

I.

Editing Ideas
1. Evaluating Your Ideas
2. Reviewing the Objectives
3. Remembering the Design Criteria
4. Editing: Transforming the Concept
5. Editing: Eliminating

J.

Adding Substance to Concept
1. Voice, Vision, Viewpoint
2. Risk is Relative
3. Identifying an Original Idea

K.

Understanding style

1.
2.
3.
4.

Style With Rationale
Passion as a Creative Tool
Can You Be Too Creative?
Can a Creative Solution Look Conservative, Even Boring?

L.

Pushing Ideas
1. Enhancing the Concept Through Implementation
2. Grid
3. Type
4. Images
5. Color
6. Paper
7. Printing and Finishing
8. Intuition
9. Accidents
10. Contrast
11. Sweating the Details
12. Looking at the Big Picture

M.

Remembering the Audience, In Spite of the Client
1. Is the Design Working?
2. Managing the Client Expectations
3. Controlling the Decision Making Process
4. Creativity begets Creativity

E.

Teaching Methodology:
Traditional Classroom Methodology
This course is designed to provide the student with 60 hours of studio instruction
per semester (typically four hours per week). Instruction will occur using, but
not limited to, lecture, assignments, critiques, and demonstrations.

F.

Text
The instructor will provide specifications for an appropriate text or supportive
material.

G.

Assessment Activities:
Traditional Classroom Assessment

Students will be assessed using exams, quizzes, homework assignments,
individual assignments, and group assignments.
A
90-100%
B
80-89%
C
70-79%
D
60-69%
F
59% and below
H.

Accommodations for Students with Disabilities:
Accommodations for Students with Disabilities

Students with disabilities:
• Reserve the right to decide when to self-identify and when to request
accommodations.
• Will register with the Office for Students with Disabilities (OSD) each semester to
receive accommodations.
• Might be required to communicate with faculty for accommodations, which
specifically involve the faculty.
• Will present the OSD Accommodation Approval Notice to faculty when
requesting accommodations that involve the faculty.
Requests for approval for reasonable accommodations should be directed to the Office for
Students with Disabilities (OSD). Approved accommodations will be recorded on the
OSD Accommodation Approval notice and provided to the student. Students are expected
to adhere to OSD procedures for self-identifying, providing documentation and requesting
accommodations in a timely manner.
Contact Information:
• Location:
Azorsky Hall – Room 105
• Phone:
(724) 938-5781
• Fax:
(724) 938-4599
• Email:
osdmail@calu.edu
• Web Site:
http://www.calu.edu/current-students/studentservices/disability/index.htm
I.

Supportive Instructional Materials, e.g. library materials, web sites, etc.
The instructor will provide a list of library materials.

Additional Information for Course Proposals
J.

Proposed Instructors:
Graphic Designer or qualified faculty in the Department of Art and Design

K.

Rationale for the Course:
Required for Graphic Design majors to have an comprehensive understanding of
their discipline.

L.

Specialized Equipment or Supplies Needed:
No, but this course needs to be taught in a graphic design lab.

M.

Answer the following questions using complete sentences:
1.
2.
3.
4.
5.
6.

N.

Does the course require additional human resources? (Please explain)
No additional human resources are required.
Does the course require additional physical resources? (Please explain)
No additional physical resources are required.
Does the course change the requirements in any particular major?
(Please explain)
Yes, it changes the requirements for the Graphic Design major.
Does the course replace an existing course in your program? (If so, list the
course)
No, this course does not replace an existing course.
How often will the course be taught?
This course will be taught once per academic year.
Does the course duplicate an existing course in another Department or
College? (If the possibility exists, indicate course discipline, number, and
name)
No, this course does not duplicate an existing course.

If the proposed course includes substantial material that is traditionally taught
in another discipline, you must request a statement of support from the
department chair that houses that discipline.
N/A

O.

Please identify if you are proposing to have this course considered as a menu
course for General Education. If yes, justify and demonstrate the reasons

based on the categories for General Education. The General Education
Committee must consider and approve the course proposal before
consideration by the UCC.
No