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UNIT TITLE Specialist Ways of Working Unit Code FGCM5002 Location Farnham Level Level 5 Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version December 2012

CONTENT

One important aim of this degree programme is to view Graphic Communication as a collection of principles, processes and methodologies. A key objective of the second year is to explore specialist ways of working and relate your own practice to the professional world.

Upon completion of this unit, you will be precisely half way through your undergraduate programme. Therefore, the primary purpose of this unit is to encourage you to reflect upon your achievements thus far whilst looking forwards into the second half of the course and beyond, taking control of your design direction and giving your work a real purpose and focus.

Over the course of this semester long unit, you will be given a series of creative briefs. These will contain a number of possible outcomes allowing you to test various methodologies. This opens up the possibility of focusing your work on areas as diverse as editorial design, infographics and data visualisation, packaging, branding, typography or even choosing to focus on the relationship between technologies – the means of production – and graphics.

Of equal importance, is your growing philosophical and critical self-awareness; to produce work that reflects not just your technical abilities and visual communication acumen, but your worldview, your relationship with graphic communication and its relationship with society.

AIMS

A1 to identify specialist graphic areas of practice in order to aid informed choice making for future creative and professional development

A2 to provide the opportunity to apply growing knowledge, skills and expertise to a range of specific communication needs

A3 to enable you to focus and refine portfolio content to reflect preferred methodologies

LEARNING OUTCOMES

L01 demonstrate an awareness of and application of specialist ways of working

L02 demonstrate your ability to apply knowledge, skills and growing expertise to a range of communication problems

L03 produce a portfolio of work that demonstrates your creative potential

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity 138

No. of hours of independent activity 162

No. of hours of placement activity 0

Lectures Seminars Tutorials Project Supervision Practical classes and workshops Supervised studio time Guided independent study

ASSESSMENT REQUIREMENTS

Table A1- Assessment Components

Assessment Component

List all separate

components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component

comprises more than one

assessment task

Assessment Type For each component

double click in the box to see options.

The options equate to the assessment types in

table A2

Word Count Approx

word count where

applicable

Portfolio

100

A portfolio containing a variety of determined creative outcomes and a book containing evidence of research, analysis and staged conceptual and technical development.

Portfolio

Table A2 – KIS Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100 Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques)

Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data

Assessment Category Total % for Unit Written Coursework 100 Practical

Table A4 – Assessment Criteria

CRITERION MAPS TO LEARNING OUTCOME

Exploration and appreciation of specialist methodologies that exist within broad practice.

LO1

Application and testing of specialist methodologies. LO2

Creative outcomes that demonstrate breadth and depth of enquiry and application

LO3

REFERENCE MATERIAL1

Essential

Arden, Paul. (2009) It's Not How Good You Are, It's How Good You Want To Be, London: Phaidon Press.

Walton, Roger. (2007). The Big Book of Graphic Design, London: Collins Design.

Chen Design Associates. (2006) Fingerprint: The Art of Using Handmade Elements in Graphic Design, London: How Design Books.

Fletcher, Alan. (2001). The Art of Looking Sideways. London: Phaidon Press.

Klanten, A., Mollard, M. Hübner. (2011). Behind the zines : self-publishing culture. Berlin: Die Gestalten Verlag

Klanten, R., 2012. Introducing: Visual Identities for Small Businesses. Berlin: Die Gestalten Verlag

1 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.

McAlhone, Beryl and Stuart, David. (1998). A Smile in the Mind: Witty Thinking in Graphic Design, London: Phaidon Press Ltd.

Muller-Brockmann, Joseph. (2009) Grid Systems in Graphic Design: A Handbook for Graphic Artists, Typographers and Exhibition Designers. Sulgen: Niggli Verlag

Tufte, E., (2009). The Visual Display of Quantitative Information. 2nd ed. Cheshire, Connecticut: Graphics Press.

Recommended

Arden, Paul. (2006). Whatever You Think, Think The Opposite, London: Penguin.

Newark, Quentin. (2007). What Is Graphic Design? (Essential Design Handbooks), London: Rotovision.

Bergstrom, Bo. (2008). Essentials of Visual Communication, London: Laurence King.

Olins, Wally. (2004). Wally Olins: On B®and. London: Thames and Hudson

Sagmeister, Stefan and Hall, Peter. (2009) Sagmeister: Made You Look, New York: Harry N. Abrams, Inc.

Heller, Steven and Ilic, Mirko. Icons of Graphic Design, London: Thames & Hudson.

Barnard, Malcolm. (2005) Graphic Design as Communication, London: Routledge.

UNIT TITLE Publishing and Narrative Unit Code FGCM5003 Location Farnham Level Level 5 Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300

Date of approval of this version December 2012

CONTENT

This unit explores the use of storytelling within our society and culture as a means of communicating to audiences or consumers. The use of narrative is hugely diverse and covers a wide range of forms from the oral tradition to the strip cartoon, from way finding to branding, these all communicate complex meaning. We tell stories to ourselves; of our journey from birth to death, friends, families, who we are and who we want to be. Our public stories are about history and politics, about our identity. We use stories to engage with people, to make them understand new ideas, to entertain and to sell things. Our stories can be personal, fun, educational, inspirational, politically motivated and challenging depending on the effect we wish our narrative to have on our audience. We are surrounded by the stories other people wish to tell us. Which ones you choose to listen to depends on the way the story is told.

Conceiving new and innovative ways to communicate narrative is at the heart of great graphic design and will enable you to deepen your knowledge and creative practice.

First you will explore the message you wish to communicate and to whom you wish to tell your story, this will determine how you speak to your audience. From this point on you can consider issues of communication methodology, layout, media and design.

The narrative that you wish to communicate will determine the proposed creative outcome. The means of publication will depend on your audience. Possible outcomes could include a series of posters, a magazine, a short film, an illustrated novel, an exhibition, an advertising campaign, a typeface, a brand story or even a retail environment.

The unit content will include but is not limited to:

• What is publishing and how do we publish? • Advanced forms of narrative as a means of communication • The use narrative in contemporary culture • Narrative in space and over time

AIMS

A1 to encourage a personal approach and perspective to creative/design practice that reflects a growing awareness and expertise of specialist graphic communication methods

A2 to demonstrate the potential of narrative to communication message and meaning

A3 to understand how to communicate effectively to a chosen audience

A4 to understand how to use text and image to effectively communicate meaning

LEARNING OUTCOMES

L01 demonstrate your understanding of how to communicate through a narrative

L02 demonstrate how to apply specific methodologies to a specific creative issue

L03 demonstrate how to communicate effectively to a chosen audience

L04 show how your concepts or message can be communicated professionally





Teaching delivery methods include: Lectures Seminars Tutorials Project supervision Supervised studio time Guided independent study




List all separate components

Weigh-ting (%)


Where the component

comprises more than one assessment task



The options equate to the assessment types

in table A2

Word Count Approx

word count where

applicable

Portfolio

100

A statement of intent detailing the message, target audience and the means of communication A creative outcome that responds directly to a

Portfolio2

2 Manually type the correct selection from the list available on double clicking in the box

specified need to communicate information and demonstrates the principles and processes of narrative storytelling and publishing Design Process Book containing process methods and development, research, analysis and reflection.





Written


Report Coursework




Set exercise (not under exam conditions, e.g. critiques) Coursework



Practical





Knowledge of a range of specific and specialist means of communication through narrative.

LO1

Develop a narrative to carry a singular message or theme. LO2

Demonstration of independent research and analysis of target audiences.

LO3

Demonstration of professionally orientated creative problem solving.

LO4

REFERENCE MATERIAL Essential

Williams, Gareth. (2009) Telling Tales: Fantasy and Fear in Contemporary Design: Narrative in Design Art, London: V & A Publishing. Gregory, Danny. (2008) An Illustrated Life: Drawing Inspiration from the Private Sketchbooks of Artists, Illustrators and Designers, Cincinnati: How Books. Klanten, A., Mollard, M. Hübner. (2011). Behind the zines : self-publishing culture. Berlin: Die Gestalten Verlag

New, Jennifer. (2005) Drawing from Life: The Journal as Art, New York: Princeton Architectural Press. Exhibition Graphics, (2005) Tokyo: PIE Books; Shohan edition. Eisner W. (2008) Graphic Storytelling and Visual Narrative: Principles and practices from the legendary Cartoonist (Will Eisner Instructional Books), New York: W. W. Norton & Co. Images Publishing. (2004) Lella and Massimo Vignelli (International Graphic Design), New York: Images Publishing Group Pty.Ltd. Recommended

Munari, Bruno. (2008). Design as Art, London: Penguin Modern Classics. Pearce, Harry. (2009) Conundrums, London: Harper Entertainment. McCandless, (2010). David. Information is Beautiful, London: Collins. Klanten, R. (Author, Editor), Bourquin, N. (Editor), Ehmann, S. Data Flow: Visualising Information in Graphic Design, Berlin: Die Gestalten Verlag. Emerson, R M. (1995) Writing Ethnographic Fieldnotes, Chicago: Chicago University Press; 2nd edition. Bell, Roanne, Sinclair, Mark. (2005) Pictures and Words: New Comic Art and Narrative Illustration, London: Laurence King.

UNIT TITLE Graphic Communication in the Professional

Context Unit Code FGCM5007 Location Farnham Level Level 5 Duration (number of weeks) 20 Weeks + professional experience Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 09.05.13

CONTENT

This unit is designed to introduce you to the working world of the professional designer and creative practitioner; its primary aim is to help you prepare for your work experience in Semester 4 and to give you the opportunity to research the world of current graphic communication practice in a range of related industries and areas.

You will explore and target creative agencies and individuals who work within your chosen area. You will develop promotional materials and build an on-line presence enabling growing interaction and communication with professionals.

You will develop a workbook that demonstrates your research into your chosen area of the design industry and develop and implement a strategy to secure a work experience placement and/or other formal engagement with industry.

Content includes, but is not limited to:

• The definition of “professional” • Specialist areas of practice – what are they and what may they become? • Self-promotion strategies • Maintaining an on-line presence • Specialist roles and definitions • How to find and secure work experience

AIMS A1 to further develop an understanding of specialist current graphic communication

practice and career aspirations and direction

A2 to encourage primary and secondary research into current practice

A3 to develop your portfolio and communication skills

A4 to develop self-promotion strategies and to communicate with industry

LEARNING OUTCOMES

L01 understand the variety of career options within graphic communication

L02 use research findings to develop strategic thinking and inform career aspirations

L03 to communicate professionally with your peers and an ‘external’ audience

L04 understand how professional designers work, communicate and promote themselves





Delivery methods include:

Lectures Seminars Tutorials Practical classes and workshops Fieldwork External visits Placement





Weigh-ting (%)


Where the component comprises more than one assessment task


double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx word count where

applicable Portfolio

100

A professional strategy including self-promotional materials A written reflection on the nature of current professional practice and evidence of experiential learning including employer feedback.

Portfolio





Written


Report Coursework







Practical





The relationship between professional direction and portfolio content.

LO1

Knowledge of leading practioners and contemporary ways of working.

LO2

Application of current communication strategies.

LO3

First person engagement with graphic communication specialists.

LO4


Brook, T and Shaughnessy, A. 2009. Studio Culture: The secret life of the graphic design

studio. 1st ed. London: Unit Editions

Lawson, Bryan. (2006). How Designers Think: Demystifying the Design Process. 4th ed. Oxford: Architectural

Crawford, Tad Crawford. (2008) Professional Practices in Graphic Design, New York: Allworth Press

Cohen, Sandee. (2009). From Design into Print: Preparing Graphics and Text for Professional Printing, Berkeley: Peachpit Press

Shaughnessy, Adrian. (2010). How To Be A Graphic Designer Without Losing Your Soul. London: Laurence King

Recommended

Bright, Jim and Earl, Joanne. (2005). Brilliant CV: What Employers Want to See and How to Say It. 2nd ed. London: Prentice Hall.

Lawler, Brian P. (2005). Official Adobe Print Publishing Guide: The Essential Resource for Design, Production, and Prepress, Berkeley: Adobe

Landa, Robin. (2002). Thinking Creatively: New Ways to Unlock Your Visual Imagination.

Cincinnati, Ohio: North Light.

Wilson, Jerry S. and Blumenthal, Ira. (2008) Managing Brand You: 7 Steps to Creating Your Most Successful Self, New York: Amacom

Klaus, Peggy. (2004). Brag!: The Art of Tooting Your Own Horn Without Blowing It, London: Warner Books Inc.

Rule29. (2010). The Best of Business Card Design 9, Berkley: Rockport Publishers.

Rumelt, Richard. (2011). Good Strategy/Bad Strategy: The Difference and Why It Matters. London: Profile Books Periodicals Eye Baseline IDN - International Design Network Blueprint It’s Nice That Creative Review Design Week Marketing Week

Organisations D&AD – Design & Art Direction ISTD - International Society of Typographic Designers Glug YCN – Young Creatives Network The Typographic Circle Sign Design Society MIT Media Lab

UNIT TITLE Contextual and Theoretical Perspectives Unit Code FGCM5008 Location Farnham Level 5 Duration (number of weeks) 24 Weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version

CONTENT

This unit encourages you to position your own practice by recourse to a variety of theories, contextual frameworks and critical evaluations, and introduces a variety of research methods to facilitate independent study towards coherent, self-reflective argument in written form.

Taking as its starting point the premise that we live in a consumer culture, and that objects and images play a fundamental role in determining social and cultual meaning and value, the unit addresses a number of key texts with regard to the production, mediation, and consumption of that meaning. Exploring theoretical dialogues and debates around concepts of lifestyle, taste, fashion and identity through a series of lectures, you will be asked to consider the import of such theory in relation to both specific discipline-based practices and to the wider cultural field through seminar-based activities.

Continuing with the belief that environments, objects and images 'package' experience through their often implicit narratives, the unit will also address a number of theoretical and contextual paradigms that speak to more specific areas of practice. While encouraging a view of such practice as often fluid and interdisciplinary, and subject to cultural and technological change, lecture and seminar material will increasingly focus on historical and contemporary bodies of theory and critical engagement that are most relevant to your particular discipline. In doing so, the unit will alight on a number of key issues that will allow you to further evaluate and position both shared practices and your own individual development.

Content may include, but is not limited to:

Consumer Culture

Lifestyle, Taste, Fashion and Identity

Design, Media, and the Production of Meaning

Commodification and Singularisation: Issues of Consumption

Contemporary visual cultures

Photographic meaning

Authorship and the politics of expression

Social media and constructions of identity

Crafting the digital

Narration and navigation

In addition, the development of a sustained approach to researching visual culture forms an important aspect of this unit, enhancing your knowledge and understanding of the relationship between theory and practice. To this end we will investigate a variety of research resources which may include images, objects, verbal or written texts and other forms of material culture. Feedback during the year will encourage a developmental approach to research and writing, allowing you to increasingly reflect upoon, and evaluate, your own learning. AIMS A1 To articulate a model of complexity within cultural practices in relation to the

production and consumption of meaning.

A2 To encourage positional argument through an analysis and evaluation of the possible relationships between theory and practice.

A3 To promote theoretically driven, research-based independent study through the development of individually negotiated case-study evidence towards the provision of written argument.

LEARNING OUTCOMES LO1 Identify a range of contextual and theoretical paradigms related to the possible

meanings of visual culture and individual practice within frameworks of production, mediation and consumption.

LO2 Demonstrate an ability to develop and apply research-led positional argument based on the analysis and evaluation of a variety of theoretical and contextual resources.

LO3 Demonstrate an ability to undertake research, through the development of individually negotiated case-study evidence, towards a structured, coherent and academic argument in written form





This will comprise:

Activities drawn from Lectures, tutorials, seminars and independent study



Assessment Weigh- Typical Indicative Assessment Type Word

Component List all separate

components

ting (%) Assessment tasks Where the component comprises more than one assessment task

For each component double click in the box to see options. The options equate to the assessment types in table A2

Count Approx word count where

applicable Essay

50

Written assignment (eg essay)3

2000-2500

Essay

50

Written assignment (eg essay)

2500





Written

Written assignment, including essay 100 Coursework

Report Coursework


Portfolio Coursework



Coursework



Practical




CRITERION MAPS TO LEARNING OUTCOME Knowledge of a range of theoretical and contextual paradigms.

LO1

Development of positional argument based on the analysis, reflection and evaluation of theory

LO2


in relation to practice. Demonstration of independent research activity towards structured and coherent written argument according to academic convention.

LO3


Barthes, Roland. (1957), Image, Music, Text. (Vintage Classics) Lury, Celia. (2011). Consumer Culture London: Polity Press Manghani, S., Piper, A. & Simons, J. (Eds.) (2006). Images: A Reader London: Sage

Paterson, Mark. (2005) Consumption and Everyday Life London: Routledge

Poyner, Rick. (2007) Obey the Giant: Life in the Image World. (Springer)

Rose, Gillian. (2011). Visual Methodologies: An Introduction to the Interpretation of Visual Materials (2nd Edition) London: Sage. Slater, Don. (1998). Consumer Culture and Modernity London: Polity Press Recommended

Bowlby, Rachel. (2000). Carried Away: The Invention of Modern Shopping London: Faber and Faber

Cashmore, E. (2006). Celebrity / Culture. London: Routledge

Bourdieu, Pierre. (2010). Distinction London: Routledge

Boyle, David. (2004). Authenticity: Brands, Fake, Spin and the Lust For Real Life London: Harper Perennial

Gauntlett, D. (2011). Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0. Cambridge: Polity Press

McCracken, Grant. (2005). Culture and Consumption Volume 2: Markets, Meaning and Brand Management Indiana: Indiana University Press

Seale, Clive. (2011). Researching Society and Culture (2nd edition) London: Sage

Wells, L. (Ed.). (2009). Photography: A Critical Introduction [4th edition] London: Routledge

UNIT TITLE Specialist Ways of Working in the Professional Context (Study Abroad)

Unit Code FGCM5004 Location Farnham Level Level 5 Duration (number of weeks) 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 09.05.13

CONTENT

One important aim of this degree programme is to view Graphic Communication as a collection of principles, processes and methodologies. A key objective of the second year is to explore specialist ways of working and relate your own practice to the professional world.

This Unit is written specifically for students wishing to Study Abroad in their second term, allowing the exploration of Specialist Ways of Working in relation to current industry practice.

Over the course of this term long unit, you will be given a series of creative tasks. These will contain a number of possible outcomes allowing you to test various methodologies. This opens up the possibility of focusing your work on areas as diverse as editorial design, information design and data visualisation and the relationship between digital and print based technologies.

A second equally important element is an investigation into current graphic communication industrial practice that highlights how specialist ways of working are employed in specialist and multi-disciplinary agencies.

Content includes but is not limited to:

Information Design Digital futures Contemporary Print Production Methods Typography Professional Studio primary and secondary research Presentation Methods AIMS

A1 to identify specialist graphic areas of practice in order to aid informed choice making for future creative and professional development

A2 to provide the opportunity to apply growing knowledge, skills and expertise to a range of specific communication needs

A3 to encourage primary and secondary research into current practice LEARNING OUTCOMES

L01 demonstrate an awareness of and application of specialist ways of working

L02 demonstrate your ability to apply knowledge, skills and growing expertise to a range of communication problems

L03 use research findings to develop strategic thinking and inform career aspirations INDICATIVE TEACHING & LEARNING METHODS




Lectures Seminars Tutorials Project Supervision Practical classes and workshops Supervised studio time Studio visits and industry research Guided independent study




List all separate components that must be passed

separately to achieve a pass in

the unit (e.g. essay, portfolio)

Weigh-ting (%)


Where the component





applicable

Portfolio

100

A portfolio containing a variety of tutor led specialist creative outcomes, evidence of research into current industrial practice and a research and design development log

Portfolio





Written


Report Coursework





Coursework



Practical





Demonstration of exploring and testing specialist ways of working in relation to current industrial practice.

LO1

Knowledge of leading specialist and multi-disciplined practitioners.

LO2

Awareness of the relationship between specialist communication processes and methods and current industrial practice.

LO3


Brook, T and Shaughnessy, A. (2009). Studio Culture: The secret life of the graphic design studio. 1st ed. London: Unit Editions

Heller, Steve & Vienne, Veronique. (2012). One Hundred Ideas That Changed Graphic Design. London: Lawrence King.


Recommended

Airey, David. (2012). Work For Money, Design for Love: Answers to the Most Frequently Asked Questions About Starting and Running a Successful Design Business. London: New Riders Landa, Robin. (2002). Thinking Creatively: New Ways to Unlock Your Visual Imagination. Cincinnati, Ohio: North Light. Klaus, Peggy. (2004). Brag!: The Art of Tooting Your Own Horn Without Blowing It, London: Warner Books Inc.

Rumelt, Richard. (2011). Good Strategy/Bad Strategy: The Difference and Why It Matters. London: Profile Books

Periodicals (web and print platforms) Eye Baseline It’s Nice That Creative Review Organisations D&AD – Design & Art Direction The Typographic Circle Sign Design Society

UNIT TITLE Contextual and Theoretical Perspectives (Study Abroad Option)

Unit Code FGCM5009 Location Farnham Level 5 Duration (number of weeks) 12 Weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version

CONTENT

This unit encourages you to position your own practice by recourse to a variety of theories, contextual frameworks and critical evaluations, and introduces a variety of research methods to facilitate independent study towards coherent, self-reflective argument in written form.

Taking as its starting point the premise that we live in a consumer culture, and that objects and images play a fundamental role in determining social and cultual meaning and value, the unit addresses a number of key texts with regard to the production, mediation, and consumption of that meaning. Exploring theoretical dialogues and debates around concepts of lifestyle, taste, fashion and identity through a series of lectures, you will be asked to consider the import of such theory in relation to both specific discipline-based practices and to the wider cultural field through seminar-based activities.

Continuing with the belief that environments, objects and images 'package' experience through their often implicit narratives, the unit will also address a number of theoretical and contextual paradigms that speak to more specific areas of practice. While encouraging a view of such practice as often fluid and interdisciplinary, and subject to cultural and

technological change, lecture and seminar material will increasingly focus on historical and contemporary bodies of theory and critical engagement that are most relevant to your particular discipline. In doing so, the unit will alight on a number of key issues that will allow you to further evaluate and position both shared practices and your own individual development.

Content may include, but is not limited to:

Consumer Culture

Lifestyle, Taste, Fashion and Identity

Design, Media, and the Production of Meaning

Commodification and Singularisation: Issues of Consumption

Contemporary visual cultures

Photographic meaning

Authorship and the politics of expression

Social media and constructions of identity

Crafting the digital

Narration and navigation

In addition, the development of a sustained approach to researching visual culture forms an important aspect of this unit, enhancing your knowledge and understanding of the relationship between theory and practice. To this end we will investigate a variety of research resources which may include images, objects, verbal or written texts and other forms of material culture. Feedback during the year will encourage a developmental approach to research and writing, allowing you to increasingly reflect upoon, and evaluate, your own learning.

AIMS

A1 To articulate a model of complexity within cultural practices in relation to the production and consumption of meaning.

A2 To encourage positional argument through an analysis and evaluation of the possible relationships between theory and practice.

A3 To promote theoretically driven, research-based independent study through the development of individually negotiated case-study evidence towards the provision of written argument.

LEARNING OUTCOMES

LO1 Identify a range of contextual and theoretical paradigms related to the possible meanings of visual culture and individual practice within frameworks of production, mediation and consumption.

LO2 Demonstrate an ability to develop and apply research-led positional argument based on the analysis and evaluation of a variety of theoretical and contextual resources.

LO3 Demonstrate an ability to undertake research, through the development of individually negotiated case-study evidence, towards a structured, coherent and academic argument in written form





This will comprise:

Activities drawn from Lectures, seminars, tutorials, and independent study





Weigh-ting (%)


Where the component comprises more than one assessment task



Word Count Approx

word count where

applicable

Essay

50

Written assignment (eg essay)4

2000-2500

Essay

50

Written assignment (eg essay)

2500





Written

Written assignment, including essay 100 Coursework

Report Coursework


Portfolio Coursework






Practical





Knowledge of a range of theoretical and contextual paradigms.

LO1

Development of positional argument based on the analysis, reflection and evaluation of theory in relation to practice.

LO2

Demonstration of independent research activity towards structured and coherent written argument according to academic convention.

LO3

REFERENCE MATERIAL

Essential

Barthes, Roland. (1957), Image, Music, Text. (Vintage Classics) Lury, Celia. (2011). Consumer Culture London: Polity Press Manghani, S., Piper, A. & Simons, J. (Eds.) (2006). Images: A Reader London: Sage

Paterson, Mark. (2005) Consumption and Everyday Life London: Routledge

Poyner, Rick. (2007) Obey the Giant: Life in the Image World. (Springer)

Rose, Gillian. (2011). Visual Methodologies: An Introduction to the Interpretation of Visual Materials (2nd Edition) London: Sage. Slater, Don. (1998). Consumer Culture and Modernity London: Polity Press Recommended

Bowlby, Rachel. (2000). Carried Away: The Invention of Modern Shopping London: Faber and Faber

Cashmore, E. (2006). Celebrity / Culture. London: Routledge

Bourdieu, Pierre. (2010). Distinction London: Routledge

Boyle, David. (2004). Authenticity: Brands, Fake, Spin and the Lust For Real Life London: Harper Perennial

Gauntlett, D. (2011). Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0. Cambridge: Polity Press

McCracken, Grant. (2005). Culture and Consumption Volume 2: Markets, Meaning and Brand Management Indiana: Indiana University Press

Seale, Clive. (2011). Researching Society and Culture (2nd edition) London: Sage

Wells, L. (Ed.). (2009). Photography: A Critical Introduction [4th edition] London: Routledge

UNIT TITLE Publishing and Narrative (Study Abroad) Unit Code FGCM5006 Location Farnham Level Level 5 Semester 2 Duration 12 weeks Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 23.02.12

CONTENT

This unit explores the use of storytelling within our society and culture as a means of communicating to audiences or consumers. The use of narrative is hugely diverse and covers a wide range of forms from the oral tradition to the strip cartoon, from way finding to branding, these all communicate complex meaning. We tell stories to ourselves; of our journey from birth to death, friends, families, who we are and who we want to be. Our public stories are about history and politics, about our identity. We use stories to engage with people, to make them understand new ideas, to entertain and to sell things. Our stories can be personal, educational, inspirational, politically motivated and challenging depending on the effect we wish our narrative to have on our audience. We are surrounded by the stories other people wish to tell us. Which ones you choose to listen to depends on the way the story is told.

Conceiving new and innovative ways to communicate narrative is at the heart of great graphic design and will enable you to deepen your knowledge and creative practice.

First you will explore the message you wish to communicate and to whom you wish to tell your story, this will determine how you speak to your audience. From this point on you can consider issues of communication methodology, layout, media and design.

The narrative that you wish to communicate will determine the proposed creative outcome. The means of publication will depend on your audience. Possible outcomes could include a series of posters, a magazine, a short film, an illustrated novel, an exhibition, an advertising campaign, a typeface, a brand story or even a retail environment.

The unit content will include but is not limited to:

• What is publishing and how do we publish? • Advanced forms of narrative as a means of communication • The use narrative in contemporary culture • Narrative in space and over time • Narrative and publishing in print and digital context • The relationship between information and narrative

AIMS

A1 to encourage a personal approach and perspective to creative/design practice that reflects a growing awareness and expertise of specialist graphic communication methods

A2 to demonstrate the potential of narrative to communication message and meaning

A3 to understand how to communicate effectively to a chosen audience

A4 to understand how to use text and image to effectively communicate meaning

LEARNING OUTCOMES

L01 demonstrate your understanding of how to communicate through a narrative

L02 demonstrate how to apply specific methodologies to a specific creative issue

L03 demonstrate how to communicate effectively to a chosen audience

L04 show how your concepts or message can be communicated professionally





Teaching delivery methods include: Lectures Seminars Tutorials Project supervision Supervised studio time Guided independent study





Weigh-ting (%)


Where the component




The options equate to the assessment types

in table A2



100

• A statement of

intent detailing the message, target audience and the means of communication

• A creative outcome that responds directly

Portfolio

to a specified need to communicate information and demonstrates the principles and processes of narrative story telling and publishing

• Design Process Book containing process methods and development, research, analysis and reflection.





Written


Report Coursework





Coursework



Practical





Knowledge of a range of specific and specialist means of communication through narrative.

LO1

Develop a narrative to carry a singular message or theme. LO2

Demonstration of independent research and analysis of target audiences.

LO3

Demonstration of professionally orientated creative problem solving.

LO4


Williams, Gareth. (2009) Telling Tales: Fantasy and Fear in Contemporary Design: Narrative in Design Art, London: V & A Publishing. Gregory, Danny. (2008) An Illustrated Life: Drawing Inspiration from the Private Sketchbooks of Artists, Illustrators and Designers, Cincinnati: How Books. Klanten, A., Mollard, M. Hübner. (2011). Behind the zines : self-publishing culture. Berlin: Die Gestalten Verlag

New, Jennifer. (2005) Drawing from Life: The Journal as Art, New York: Princeton Architectural Press. Exhibition Graphics, (2005) Tokyo: PIE Books; Shohan edition. Eisner W. (2008) Graphic Storytelling and Visual Narrative: Principles and practices from the legendary Cartoonist (Will Eisner Instructional Books), New York: W. W. Norton & Co. Images Publishing. (2004) Lella and Massimo Vignelli (International Graphic Design), New York: Images Publishing Group Pty.Ltd. Recommended

Munari, Bruno. (2008). Design as Art, London: Penguin Modern Classics. Pearce, Harry. (2009) Conundrums, London: Harper Entertainment. McCandless, (2010). David. Information is Beautiful, London: Collins. Klanten, R. (Author, Editor), Bourquin, N. (Editor), Ehmann, S. Data Flow: Visualising Information in Graphic Design, Berlin: Die Gestalten Verlag.

Emerson, R M. (1995) Writing Ethnographic Fieldnotes, Chicago: Chicago University Press; 2nd edition. Bell, Roanne, Sinclair, Mark. (2005) Pictures and Words: New Comic Art and Narrative Illustration, London: Laurence King.

UNIT TITLE Graphic Communication in the Professional Context (Study Abroad)

Unit Code FGCM5005 Location Farnham Level Stage 2 Duration 12 Weeks + professional experience Credit Value 30 Total Learning Hours for Unit 300 Date of approval of this version 09.05.13

CONTENT

This unit is designed to introduce you to the working world of the professional graphic communication practitioner; its primary aim is to help you prepare for your work experience in the third year and to give you the opportunity to research the world of current graphic communication practice in a range of related industries and areas.

You will explore and target creative agencies and individuals who work within your chosen area. You will develop promotional materials and build an on-line presence enabling growing interaction and communication with professionals.

You will develop a workbook that demonstrates your research into your chosen area of the design industry and develop and implement a strategy to secure a work experience placement and/or other formal engagement with industry.

Content includes, but is not limited to:

• The definition of “professional” • Specialist areas of practice – what are they and what may they become? • Self-promotion strategies • Maintaining an on-line presence • Specialist roles and definitions • How to find and secure work experience

AIMS

A1 to further develop an understanding of specialist current graphic communication practice and career aspirations and direction

A2 to encourage primary and secondary research into current practice

A3 to develop your portfolio and communication skills

A4 to develop awareness and experience of current industry practice

LEARNING OUTCOMES

L01 understand the variety of career options within graphic communication

L02 use research findings to develop strategic thinking and inform career aspirations

L03 to communicate professionally with your peers and an ‘external’ audience

L04 understand current graphic communication practice within the creative industries INDICATIVE TEACHING & LEARNING METHODS




Delivery methods include: Lectures Seminars Tutorials Practical classes and workshops Fieldwork External visits Placement




List all separate

components

Weigh-ting (%)


Where the component




The options equate to the assessment types in

table A2



100

• A professional

strategy including self-promotional materials

• A written reflection on the nature of current professional practice and evidence of experiential

Portfolio

learning including employer feedback.





Written


Report Coursework





Coursework



Practical





The relationship between professional direction and portfolio content.

LO1

Knowledge of leading practioners and contemporary ways of working.

LO2

Application of current communication strategies. LO3

First person engagement with graphic communication specialists.

LO4


Brook, T and Shaughnessy, A. 2009. Studio Culture: The secret life of the graphic design studio. 1st ed. London: Unit Editions

Lawson, Bryan. (2006). How Designers Think: Demystifying the Design Process. 4th ed. Oxford: Architectural

Crawford, Tad Crawford. (2008) Professional Practices in Graphic Design, New York: Allworth Press

Cohen, Sandee. (2009). From Design into Print: Preparing Graphics and Text for Professional Printing, Berkeley: Peachpit Press


Recommended

Bright, Jim and Earl, Joanne. (2005). Brilliant CV: What Employers Want to See and How to Say It. 2nd ed. London: Prentice Hall.

Lawler, Brian P. (2005). Official Adobe Print Publishing Guide: The Essential Resource for Design, Production, and Prepress, Berkeley: Adobe

Landa, Robin. (2002). Thinking Creatively: New Ways to Unlock Your Visual Imagination.

Cincinnati, Ohio: North Light.

Wilson, Jerry S. and Blumenthal, Ira. (2008) Managing Brand You: 7 Steps to Creating Your Most Successful Self, New York: Amacom

Klaus, Peggy. (2004). Brag!: The Art of Tooting Your Own Horn Without Blowing It, London: Warner Books Inc.

Rule29. (2010). The Best of Business Card Design 9, Berkley: Rockport Publishers.

Rumelt, Richard. (2011). Good Strategy/Bad Strategy: The Difference and Why It Matters. London: Profile Books

Periodicals Eye Baseline IDN - International Design Network Blueprint It’s Nice That Creative Review Design Week Marketing Week

Organisations D&AD – Design & Art Direction ISTD - International Society of Typographic Designers Glug YCN – Young Creatives Network The Typographic Circle Sign Design Society MIT Media Lab

unit title specialist ways of working unit code …webdocs.ucreative.ac.uk/graphic communication ba...

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