Studio Follow-up I - Graphic Design 1 - winter
FaVU-M1GD-ZAcad. year: 2020/2021
The Studio of Graphic Design must be the space, monitor and connector of contemporary graphic design.
1. The studio is a shared space for experimenting, enthusiasm and reflection.
2. The studio is lead by active designers who work within the context of contemporary graphic design scene.
3. The relationship of students and teachers is based on equality, openness of discussion and constructive approach and includes active transmission of information and development of thinking.
4. Students are unique individuals able to define themselves and their work. We encourage students to express themselves verbally both in spoken and written form.
5. Students are proud of working in academic space and are taught to be responsible for their own work.
The Monitor (monitoring)
1. Students actively analyze the assignment, search adequate forms and usage of various media, and define concepts and the scale of their work. We are primarily interested in the process of critical analysis and its through documentation.
2. The regular studio discussions and lectures do not only focus on studio issues. We invite external professionals on a regular basis.
3. The studio team communicates and cooperates both on the internal and the external basis. The designer operates as a guide, analyse the overlaps of graphic design and visual communication towards other disciplines.
4. The teachers transmit a maximum of their knowledge and encourages the student to further learning.
1. We cooperate with other Czech and international academic spaces (studios).
2. We effectively use the study offer not only within the FFA; we also take part in interdisciplinary lectures, professional conferences, field trips, independent cultural projects, etc.
3. We activate and create spaces for presenting our studio (organizing exhibitions and other creative SELF projects).
4. We publish our students’ work and further help them to present it.
5. We encourage international exchanges of students.
6. Students are invited to participate in the teachers’ activities.
Learning outcomes of the course unit
At the end of their studies, students will have become professional graphic designers who can creatively approach various types of commissions.
Ability to set up and to defend assignment of the personal MA project.
Recommended optional programme components
Recommended or required reading
MENHART, Oldřich. Tvorba typografického písma: pomocná kniha pro školy grafické a pro průmyslové školy výtvarného směru. 1. vyd. Praha: Státní pedagogické nakladatelství, 1958.
MUZIKA, František. Krásné písmo ve vývoji latinky 1. Praha, 1958.
MUZIKA, František. Krásné písmo ve vývoji latinky 2. Praha, 1963.
JONG, edited by Cees W. de a with texts by Jan Tholenaar and Cees W. de JONG. Type: a visual history of typefaces and graphic styles. [New ed.]. Koln, [Germany]: Taschen GmbH, 2013. ISBN 3836544806.
BILAK, Peter. Typeface as program: applied research and development in typography. Lausanne: ECAL/University of art and design, 2009, 180 s. ISBN 978-3-03764-072-2.
KLANTEN, Robert. Type-one: discipline and progress in typography. Berlin: Die Gestalten, 2004, 208 s. ISBN 3899550560.
MÜLLER-BROCKMANN, Josef. Grid systems in graphic design: a visual communication manual for graphic designers, typographers and three dimensional designers = Rastersysteme für die visuelle Gestaltung : ein Handbuch für Grafiker, Typographen und Ausstellungsgestalter. 8th ed. Zürich: Niggli, 2012, 176 s. ISBN 978-3-7212-0145-1.
BAUER, Erwin K a Dieter MAYER. Orientation & Identity: portraits of international way finding systems = Porträts internationaler Leitsysteme. New York: Springer, 2009, 480 p. ISBN 3211791892.
KLANTEN, Robert a Sven EHMANN. Turning Pages: editorial design for print media ; magazines, books, newspapers. 2. print. Berlin: Gestalten, 2010, 271 s. ISBN 978-3-89955-314-7.
KLANTEN, Robert a Anna SINOFZIK. Introducing: culture identities: design for museums, theaters, and cultural institutions. Berlin: Gestalten, 2013, 256 p. ISBN 3899554744.
EDITED BY DANIEL VAN DER VELDEN, Vinca Kruk. Metahaven: uncorporate identity. Baden: Lars Müller, 2009. ISBN 3037781696.
RENDGEN, Sandra. Information graphics. Köln: Taschen, 2012, 480 p. ISBN 9783836528795.
Data flow: visualising information in graphic design. Berlin: Gestalten, 2008, 255 s. ISBN 978-3-89955-217-1.
LUPTON, edited by Andrew Blauvelt and Ellen a texts by Åbäke .. [et]. AL]. Graphic design: now in production. 1st ed. Minneapolis, MN: Walker Art Center, 2011. ISBN 0935640983.
HOFMANN, Armin a D [ENGLISH VERSION. Graphic design manual: principles and practices. New York: Van Nostrand Reinhold, 1965. ISBN 9780442234690.
FRANCHI, Francesco, Robert KLANTEN a Sven EHMANN. Designing news: changing the world of editorial design and information graphics. 239 pages. ISBN 389955468x.
EDITED BY ROBERT KLANTEN, Adeline Mollard a interviews PREFACE. Behind the zines: self-publishing culture. Berlin: Die Gestalten Verlag, 2011. ISBN 9783899553369.
Planned learning activities and teaching methods
Assesment methods and criteria linked to learning outcomes
Credit conditions: completed semester assignments, regular consultations, regular attendance (max. 2 absences)
Exam conditions: completed semester exam project
Language of instruction
During the semestrer, students will be given a wide spectrum of assignments.
Graphic design MA students does not only want to be a part of a greater machine of a large studio or an agency worker carrying out schematized processes. They actively ponder the possibilities of setting the parameters of collaboration with the client or of carrying out their own project. They actively theoretize in discussions involving methods and tools used in design practices.
Specification of controlled education, way of implementation and compensation for absences
Regular consultations are mandatory.