'Course Syllabi- History of Graphic Design Essay\r'

' head for the hills\r\nDescription\r\naccount of brilliant fancy is a critical con textual matterual look for and survey study of the intents, influences, practices, and prowessifacts of in writing(predicate) design. The course result be structured on readings, research, and opthalmic insertions on subjects of designer activities through and throughout register with an emphasis on the broader diachronic context of the planning, production, form, distri thoion, reception and cultural integration of graphic design\r\n assimilator\r\nHandbook\r\nThe scholarly person Handbook is now available digit aloney sort of than in hard copy. It substructure be strand on the PNCA website (under scholarly person Life) and on Homeroom (Home page, under PNCA Essentials).\r\n hindrance\r\nSupport\r\nPNCA is in compliance with federal jurisprudence requiring colleges to provide reasonable accommodations for learners with documented physical and/or learning disabilities. If you have a d isability that magnate affect your\r\n mathematical process in this frame, entertain beget it known to the instructor.\r\nLearning\r\nOutcomes\r\nAt the conclusion of this course, the savant should be able to : -­‐ Demonstrate and supply in interventions, writings, and optical presentations an understanding of the historical context of the founding of a acidulate of graphic design (i.e. †time, place, culture, intents)\r\n-­‐\r\n compound readings and lectures and be able to formulate and post raillery points and prep ar visual ex axerophtholles for peer review and feedback (as comments) employ online tools\r\n-­‐\r\nUtilize, and bibliographic altogether(prenominal)y document, a range of re obtains used for the study of the write up of graphic design (books, journals, finisicals, online, interviews)\r\n-­‐\r\nCreative Practice\r\n list the roles, activities, and trades of communication design employmentals throughout history an d agnize specialised fields related to and integrated with the profession of graphic design\r\n-­‐\r\nLearning Outcomes argon\r\n conjugated to PNCA’s Core\r\nValues which be:\r\n disclose and articulate the influence of fine art (theories, trends, aesthetics, visual styles) on the work of graphic designers\r\nIntegrated Knowledge,\r\n particular Thinking, & Cultural\r\nInquiry\r\nSocial and estimable\r\nResponsibility\r\n trail\r\nContent\r\ninitiate, and participate in, discussion on the planning, process, production and distribution of works of graphic design\r\n-­‐\r\nEffective\r\n talk\r\n-­‐\r\nformulate a connection of the cultural influences on design from history with practices of contemporary graphic designers through examples, writings, and discussions\r\nAssignments for this Class:\r\n-­‐\r\n-­‐\r\n-­‐\r\n-­‐\r\n requisite breedings and discussion with evidence of comprehension calendar week ly opened research and On-line Posting to Homeroom\r\n hebdomadal In-Class presentations\r\n concluding query news report\r\n offsprings for weekly research volition include:\r\n instauration during Cultural Upheavals / gentleman Conflicts\r\n traffic pattern for Social Causes / invention for Social soundly\r\n invent for Commerce, Consumption, Commercialism\r\n selective teaching anatomy / Dissemination and statistical distribution of Information Technological Changes and its Influence on lifelike traffic pattern\r\n externalize as author, institutioner as Artist, entire endeavorer\r\nThe Concept of taint and the victimisation of Brand Identity\r\n down(p) number / lamentable jut\r\nMajor Benchmarks in Typography\r\n extreme right-winger Design / Culture Jamming\r\nExpectations/Policies for this course:\r\n savants argon required to read and to be ready to articulate a response to solely readings assigned in cast. Each week there get out be an assigned su bject research topic that will require independent sourcing, image documentation, writing, and on-line nib on the ‘Homeroom’ site established for the course. Each student will make a 5-10 minute presentation of each assignment postings during ranktime with an expectation of the use of active assisted notes for verbal elaboration on the corporeal presented. In- crystalise and on-line participation in the form of response and discussion and will be expected and recorded. A final research project on the relatedness of the topics of historical practice presented to the practices of a contemporary designer or design firm/group will be in the form of a research paper. (8-10 pages minimum)\r\n attending\r\nYou will be allowed two absences without extenditional penalty †although you be obligated for any work that is missed. The third gear absence will result in the threatening of an entire letter grade from the computed final grade. A fourth absence will result in a final failing grade of F. abstracted 30 minutes of a class period (during any part of the scheduled classtime) counts as an absence. everyday tardiness (less than 15 minutes) will accumulate to absences (3 tardies =1 absence)\r\n bend of hours students ar expected to work out-of-door of class: This class meets for three hours per week, and six hours of work outside of class are expected. (3 convictions)\r\n marking\r\nCriteria\r\n• weekly enquiry Assignments timely completion / in-class presentation preparedness and bigness\r\n• In-Class participation/contributions\r\n• on-line participation/contributions\r\n• Final research Paper\r\nMaterials /\r\nSupplies\r\nRequired:\r\n• Access to, or self-possession of, equipment to scan/photograph (digitize), upload and review visual and text learning on a reparation daily basis. (Computer and Camera/Scanner)\r\n• Money for photocopying (approx. $20 projected)\r\n• moment Drive (2-4gb )\r\nRecommended: chronicle of pictural Design text purchases (Personal depository program library)\r\nBibliography\r\nThe books listed here are\r\npredominantly larger\r\nvolumes consecrate to a\r\nbroad overview and\r\nhistory of graphic\r\ndesign. (More whitethorn be\r\nadded during the\r\nsemester) Many less\r\ncomprehensive but key\r\ntexts are available in the\r\nlibrary as well as journals\r\nand periodicals that are\r\nspecific to designers,\r\nstyles, and various other\r\nedited groupings †these\r\nshould be desire out\r\nand reviewed andutilized\r\nespecially for more indepth study on a\r\nresearch subject.\r\nMajor Texts of the History of graphical Design\r\nThose mark with asterisk* are on reserve shelf at front desk of PNCA library and are available on 3 hr. note out (note: many of these text have duplicates or earlier editions and are available for longer correspond out periods if needed) cognomen: Meggs, History of pictural Design, fourth form*\r\n a ctor(s): Philip Meggs, Alston Purvis\r\nPublisher: Wiley\r\nISBN: 978047169902\r\n subroutine library Call#: Z 246 .M43 1983\r\n designation: in writing(predicate) Design, a Concise History*\r\nAuthor: Richard Hollis\r\nPublisher: Thames & Hudson world of art\r\nISBN 0500203474\r\n subroutine library Call#: NC 998 .H65 1994\r\nTitle: Graphic Design: a New History* (1st and 2nd Editions) Author: Stephen Eskilson\r\nPublisher: Yale University Press\r\nISBN: 0300120117\r\nLibrary Call#: NC 998 .E85 2007 (1st Edition in Library*)\r\n scholarly persons are invited to\r\ncontribute to the\r\nadditions to this\r\nbibliography through\r\ntheir weekly research\r\nand presentation.\r\nAll sources should be\r\ncited using MLA citation\r\nmethods.\r\nTitle: Graphic Design History, A Critical Guide*\r\nAuthor(s): Johanna Drucker, Emily McVarish\r\nPublisher: Pearson/Prentice third house\r\nISBN: 0132410753\r\nLibrary Call#: NC 998 .D78 2009\r\nTitle: Graphic Design in America*\r\nAuthor(s) : Mildred Friedman, Joseph Giovannini, Steven Heller Publisher: footnote Art total\r\nISBN: 0810910365\r\nLibrary Call#: NC 998.5 .A1 G65\r\nTitle: Design, Writing, Research*\r\nAuthor(s): Ellen Lupton, Abbot Miller\r\nPublisher: carrell\r\nISBN: 1568980477\r\nLibrary Call#: Z 246 .L86 1996\r\nTitle: intercourse Design, Principles, Methods, and Practice Author: Jorge Frascara\r\nPublisher: Allworth Press\r\nISBN: 1581153651\r\nTitle: A Century of Graphic Design\r\nAuthor: Jeremy Aynsley\r\nPublisher: Barron’s Educational Series\r\nISBN: 0764153242\r\nLibrary Call#: NC 998.4 .A96 2001\r\nOther Readings:\r\nJournal: manifest quarrel 28.3, New Perspectives, Critical Histories of Graphic Design, Pt. 1 Critiques\r\neditor program and Publisher: Sharon Poggenpohl\r\nDigital reference (Links)\r\nsites should be added to\r\nonline postings\r\nOn-Line History of Graphic Design Reference\r\nwww.designhistory.org\r\n weekly\r\nCourse\r\nSchedule\r\nWeek 1 6 folk music\r\nWeek 2 13 Sept\r\nFriday, 13 September\r\nis the last day to add\r\nor drop a class.\r\nAll nurture (dates, times and assignments) in this schedule is subject to falsify at any point during the semester. Updates will be announced and posted.\r\nWelcome / accounting entrys\r\nClass Expectations / Syllabus Overview / Course Structure / Assignments Using Homeroom / Communication Expectations\r\nCourse Resources\r\nReading Assigned (Posted on Homeroom)\r\nCritical Histories of Graphic Design\r\n countersign of Readings on the approaches to History of Graphic Design development Lecture: Brief History of Graphic Design, Pt.1\r\nRead on Homeroom these posted excerpts for this class: Graphic Design History, a critical guide, by Drucker and McVarish, Communication Design, Principles, Methods, and Practice, by Frascara, Graphic Design, a Concise History, by Hollis, Megg’s History of Graphic Design, by Meggs and Purvis, Visible Language 28.3 New Perspectives: Critical Histories of Graphic Design, condition by Blauvelt\r\nAlso read (for this classes visual lecture): â€Å" prehistorical Prelude to Graphic Design” from Graphic Design History, a Critical Guide, by Drucker and McVarish\r\nWeek 3 20 Sept\r\nLecture: Brief History of Graphic Design, Pt.2\r\nRead on Homeroom these posted excerpts for this class: â€Å"Early Writing: Mark Making, Notations Systems, and Scripts” from Graphic Design History, a Critical Guide, by Drucker and McVarish\r\nLecture: Conventions and Norms\r\nOverview of Weekly Research Project egresss, Objectives, Goals, Expectations, Methods fundament of egress 1: Design during Cultural Upheavals / World Conflict\r\nWeek 4 27 Sept\r\n savant Research Presentations of Topic 1: Design during Cultural Upheavals / World Conflict\r\nQuestions and Discussion\r\nIntroduction of Topic 2: Design for Social Causes / Design for Social Good\r\nWeek 5 4 Oct\r\n assimilator Research Presentations of Topic 2: Design for Social Causes / Design fo r Social Good\r\nQuestions and Discussion\r\nIntroduction of Topic 3: Design for Commerce, Consumption, Commercialism\r\nWeek 6 11 Oct\r\n educatee Presentations of Topic 3: Design for Commerce, Consumption, Commercialism Questions and Discussion\r\nIntroduction of Topic 4: Information Design / Dissemination and dispersal of Information\r\nWeek 7 18 Oct\r\n learner Presentations of Topic 4: Information Design / Dissemination and Distribution of Information\r\nQuestions and Discussion\r\nIntroduction of Topic 5: Technological Changes and its Influence on Graphic Design\r\nWeek 8 25 Oct\r\nStudent Presentations of Topic 5: Technological Changes and its Influence on Graphic Design\r\nQuestions and Discussion\r\nIntroduction of Topic 6: Design as Author, house decorator as Artist, Whole Designer\r\nFriday, 25 October is\r\nthe last day to\r\n retreat from a class.\r\nWeek 9 1 Nov\r\nStudent Presentations of Topic 6: Design as Author, Designer as Artist, Whole Designer Questions and D iscussion\r\nIntroduction of Topic 7: The Concept of Brand and the developing of Brand Identity\r\nWeek 10 8 Nov\r\nStudent Presentations of Topic 7: The Concept of Brand and the Development of Brand Identity\r\nQuestions and Discussion\r\nIntroduction of Topic 8: Low Design / baffling Design\r\nWeek 11 15 Nov Student Presentations of Topic 8: Low Design / distressing Design Questions and Discussion\r\nIntroduction of Topic 9: Major Benchmarks in Typography\r\nWeek 12 22 Nov Student Presentations of Topic 9: Low Design / Bad Design Monday, 18\r\nNovember SP14\r\nreadjustment begins\r\nQuestions and Discussion\r\nIntroduction of Topic 10: right Design / Culture Jamming\r\nWeek 13 29 Nov Thanksgiving Holiday. No class.\r\nWeek 14 6 Dec\r\nStudent Presentations of Topic 10: Reactionary Design / Culture Jamming Questions and Discussion\r\nFinal Paper †Topic Determination\r\nWeek 15 13 Dec\r\nFinal Paper Draft Due †Individual Meetings\r\nWeek 16 20 Dec\r\nFinal Class †Course Wrap-up / Overview\r\nFriday, 20 December\r\nLast day of classes.\r\n enthrall note: The rest of the template is uniform for all PNCA classes, it includes: PNCA grading policy, statement on plagiarism, library & ACE. This section should be included in any electronic versions of the syllabus, but doesn’t need to be distributed to students in paper form.\r\nACE\r\nThe faculty member Center for Excellence (ACE) @PNCA is a peer driven support network for students at all levels. ACE provides in person and online assistance with the pastime: study skills, digital tools, research, writing and editing strategies, math, professional practices (résumés, sweep up letters, documentation), idea generation, project management, organization, and more. For more information, location and hours, please visit the ACE Homeroom site: http://homeroom.pnca.edu/sites/1019\r\nAbout Your\r\nLibrary\r\nThe Charles Voorhies Fine Art Library provides research assistance, wait on wi th citations and bibliographies and a place to document your artwork. Whether you are spirit for articles, books, audio collections, DVDs, or Web resources, the library can function! For research help contact Dan McClure (dmcclure@pnca.edu) and for help with library materials contact Serenity Ibsen (sibsen@pnca.edu). More information is available at\r\nwww.library.pnca.edu.\r\nStatement\r\non donnish\r\nIntegrity\r\nPNCA values intellectual honesty and encourages legitimate expression, independent thinking and captain writing. The College expects that all work conducted and submitted by our students shall be the combined result of original thought and ethical research. All acts of plagiarism, whether deliberate or unintentional, are considered a violation of the Student scratch of Conduct and will not be tolerated on the PNCA campus. It is the student’s obligation to be alive(predicate) of and to act in accordance with the PNCA Guidelines for faculty member Honesty. This is a document that defines plagiarism, discusses the conventions of ethical research and documentation, and explains the appropriate uses of source materials. These guidelines also describe the student’s responsibility for maintaining documentation and evidence of research in tramp to verify originality in all writing assignments at PNCA. The document: PNCA Guidelines for pedantic Honesty is provided for you in the following locations on campus: the Student Handbook, the Library’s Homeroom site, the Academic Integrity HomeRoom site, the ACE HomeRoom site, the Foundation HomeRoom site, the Liberal liberal arts Homeroom site. You whitethorn also view written copies of the PNCA Guidelines for Academic Honesty in the office of Student Services, the Academic Dean’s office, and the PNCA Library.\r\nStudent\r\nInformation +\r\nResponsibilities\r\nStudents are expected to have in their possession a current edition of the Student Handbook. Students are responsible for all the information contained in the enchiridion, and should refer to the handbook frequently for deadlines, policies, procedures, and\r\nresponsibilities. Student Handbooks are available in the office of Student Services. Students are expected to obstructer their student mailboxes frequently for communications from their instructors or from the administrative offices of the college. Week Two is the last week that you may add or drop a class with no penalty. Week Eight is the last week that you may withdraw from a class with a â€Å"W.”\r\nPNCA\r\nGrading\r\nCriteria\r\nThis is the\r\ninstitutional grading\r\npolicy for all PNCA\r\nstudents.\r\n invests are distributed after the end of each semester.\r\nGrading Criteria\r\nGrade A: Student performance is outstanding. Student exhibits excellent achievement and craftsmanship in all aspects of work. Student exceeds the problem criteria and consistently challenges himself/herself to seek refreshing solutions to assigned p roblems. Student exhibits a commitment to expanding ideas, phraseology and performance. Student’s attendance, participation and class amour are excellent. Grade B: Student performs beyond requirements of assignments. Student exhibits above-average progress and craftsmanship in all work. Student meets and exceeds the problem criteria. Student exhibits above-average interest in expanding ideas, vocabulary and performance. Student’s attendance, participation and class involvement are above average.\r\nGrade C: Student performance is average and all requirements are fulfilled. Student exhibits an average level of progress and betterment in all work. Student meets the problem criteria. Student exhibits interest in expanding ideas, vocabulary and performance. Student’s attendance, participation and class involvement are adequate. Grade D: Student performance is uneven and requirements are partially fulfilled. Student’s output is minimal. Student\r\nexhibits minimal improvement in work. Student does not meet the problem criteria in all assignments. Student exhibits minimal interest in expanding ideas, vocabulary and performance. Student’s attendance, participation and class involvement are less than adequate.\r\nGrade F: No credit earned. Student fails to meet a minimum performance level. Student does not exhibit achievement, progress or adequate levels of craftsmanship in all assignments. Student’s work is consistently incomplete or unsuccessful. Student’s attendance, participation and class involvement are inadequate. moot/Fail Grade: A Pass/Fail grade will be given for designated courses in which the course content is such(prenominal) that direct faculty oversight of the learning accept is not possible, and evaluation on the present grading scale would be difficult. â€Å"Pass” implies a â€Å"C” grade or above. â€Å"Fail” implies less than a â€Å"C” grade and course work order a s â€Å"Fail” does not apply to the degree. Pass/Fail grades are not calculated in the grade point average. This grading applies to Internships. Graphic Design Co-op uses traditional letter grades. unelaborateds\r\nIn trustworthy situations, a student may request an â€Å"Incomplete” grade in a class. You may prayer for an â€Å"Incomplete” only if your situation meets both of these conditions:\r\n1. An palliate circumstance exists and it has prevented you from completing the coursework (Extenuating circumstances are illnesses, family, emergencies, etc.),\r\n2. You are currently in good standing in the class.\r\nSee the Student Handbook for more information about Grades and Incompletes.\r\n'