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Critical Issues in Graphic Design: Research and Practice

  • Module code: HA5105
  • Year: 2018/9
  • Level: 5
  • Credits: 30
  • Pre-requisites: None
  • Co-requisites: None

Summary

This module builds on the historical and thematic content introduced at Level 4 and emphasises the theorisation of contemporary graphic design practice. A series of lectures, seminars, workshops, tutorials, screenings and visits informs and supports your own emerging research interests and the development of independent visual and academic research skills that cross history/theory and design practice. Lectures and seminars will deepen critical and theoretical engagement with contemporary issues in graphic design. Seminar tasks and assessments are carefully designed to foreground projects that support the location of graphic design as a discipline. Research methodologies are introduced through case studies and practical activities that reflect the issues explored through the module's contemporary content.

Aims

  • To engage students with current practices and debates concerning contemporary graphic design;
  • To provide students with a comprehensive understanding of key critical and theoretical positions in relation to the production, dissemination and consumption of graphic design in contemporary culture;
  • To enable students to engage and reflect on research methodologies and critical approaches to graphic design;
  • To facilitate a greater reflective, critical and creative engagement with the study of graphic design through objects, images and texts ;
  • To encourage students to articulate their own experiences and interests as designers and researchers in relation to historical and contemporary concerns and to create an opportunity for student to identify and develop a chosen area of individual research useful and relevant to their practice.

Learning outcomes

On successful completion of the module, students will be able to:

  • Demonstrate a depth of knowledge of the current practices and critical debates concerning contemporary graphic design;
  • Articulate and apply the ideas of a range of key critical and theoretical positions in relation to the production, dissemination and consumption of graphic design in contemporary culture;
  • Present an informed and creative engagement with the ways graphic design research can be approached methodologically;
  • Demonstrate a reflective, critical and creative engagement with graphic design through visual, material and textual examples;
  • Articulate their own experiences as designers and researchers in relation to historical and contemporary concerns;
  • Locate their own research practice and personal interests in a self-directed chosen area and identify personal research objectives and key resources.

Curriculum content

  • The everyday in design and culture
  • Image as text/text as image
  • Design fictions
  • Amateur making
  • DIY, craft cultures and the value of the handmade
  • Cultures of collecting, archiving and display
  • 'Lost and found', ready-mades and cutups
  • Design activism
  • Sub- and counter-cultural visual production
  • Independent and non-commercial design practices
  • Digital dialogues
  • Writing graphic design
  • The places and spaces of graphic design

Teaching and learning strategy

This module will integrate subject content and research skills through lectures, seminars tutorials, screenings and visits. Hands-on workshop seminars enable the application of research skills to explore a range of current issues affecting research and practice in contemporary issues in graphic design. 

The module will make use of the Virtual Learning Environment (VLE) Canvas for communication and dissemination of information between students and staff as well as making online learning materials available to all. Students should check this site on a daily basis for module information, timetables, sign-ups, updates and additional information and teaching materials.

All courses based in the Kingston School of Art offer students free access to the online video tutorial platform Lynda.com. This provides a wide range of subjects to choose from, many with downloadable exercise files, including software tutorials covering photography, graphics, web design, audio and music, CAD and Microsoft Office software, as well as courses on Business and Management skills. Some of these are embedded in the curriculum and offer additional self-paced learning, others may be taken at will by students wishing to broaden their employability skills in other areas.

Breakdown of Teaching and Learning Hours

Definitive UNISTATS Category Indicative Description Hours
Scheduled learning and teaching Lectures, seminar discussions & workshops, tutorials, screenings, gallery & museum visits, and trips. Study Groups 44 44
Guided independent study 212
Total (number of credits x 10) 300

Assessment strategy

This module will be assessed through a 2500 word Essay (50%) and a Research Portfolio (50%). In the first part of this module, students will produce an essay which responds to a set question relating to the issues, debates and themes explored during the course and developed through students' own disciplinary interests. The Research Portfolio is the repository for each student's response to set tasks, exercises and self-initiated research. This will include a range of tasks such as image and object analyses, an exhibition review, a photo essay and a Dissertation Proposal that will serve to identify and locate an area of individual research related to the student's design practice and map out aims, objectives and resources to be investigated in future study at Level 6. 

BA Art and Design History & Practice students only:

BA Art and Design History and Practice students will submit a 2500 word Essay (50%) and a Research Portfolio (50%).  In the first part of this module students will produce an essay which responds to a set question relating to the issues, debates and themes explored during the course and developed through students' own disciplinary interests. The Research Portfolio is the repository for each student's response to set tasks, exercises and self-initiated research. This will include a range of tasks such as image and object analyses, an exhibition review and a photo essay.

The Research Portfolio will include either a Dissertation Proposal or a Critical Reflection (both approximately 1200 words). Only one of these forms of assessment can be submitted per HA51.. module, and each can only be submitted once across both modules. The Dissertation proposal will serve to identify and locate an area of individual research related to the student's design practice and map out aims, objectives and resources to be investigated in future study at Level 6. The Critical Reflection allows students to reflect on the hybridity of their course, to evaluate the similarities and differences in methods and ideas encountered across the Level 5 modules and to consider the influence that this cross disciplinary learning may have had on their research interests as they prepare to progress to Level 6. 

Incoming Erasmus students only:

Erasmus students studying for 1 year will submit a 2500 word Essay (50%) and a Research Portfolio (50%).  In the first part of this module students will produce an essay which responds to a set question relating to the issues, debates and themes explored during the course and developed through students' own disciplinary interests. The Research Portfolio is the repository for each student's response to set tasks, exercises and self-initiated research. This will include a range of tasks such as image and object analyses, an exhibition review and a photo essay.

Erasmus students studying for one teaching block (TB1 or TB2) will have an option of submitting either the 2500 Essay or the Research Portfolio.  The Research Portfolio will include a range of tasks such as image and object analyses, an exhibition review and photo essay.  This will need to be discussed and agreed with the student's Personal Tutor or Course Leader.

Feedback and feed forward will be provided for elements of the research portfolio, as these are initiated as part of scheduled teaching activities.

Mapping of Learning Outcomes to Assessment Strategy (Indicative)

Learning Outcome Assessment Strategy
1) Demonstrate a depth of knowledge of the current practices and critical debates concerning contemporary graphic design; Essay (2,500 words) Research Portfolio
2) Articulate and apply the ideas of a range of key critical and theoretical positions in relation to the production, dissemination and consumption of graphic design in contemporary culture; Essay (2,500 words) Research Portfolio
3) Present an informed and creative engagement with the ways graphic design research can be approached methodologically Essay (2,500 words) Research Portfolio
4) Demonstrate a reflective, critical and creative engagement with graphic design through visual, material and textual examples; Essay (2,500 words) Research Portfolio
5) Articulate their own experiences as designers and researchers in relation to historical and contemporary concerns; Research Portfolio
6) Locate their own research practice and personal interests in a self-directed chosen area and identify personal research objectives and key resources. Research Portfolio

Elements of Assessment

Description of Assessment Definitive UNISTATS Categories Percentage
Essay (2,500 words) Coursework 50%
Research Portfolio (Including Dissertation Proposal) Coursework 50%
Total (to equal 100%) 100%

Achieving a pass

It IS NOT a requirement that any element of assessment is passed separately in order to achieve an overall pass for the module.

Bibliography core texts

Baseline Magazine

Creative Review: Advertising, Design & Visual Culture

Design Issues (MIT Press)

Eye: The International Journal of Graphic Design

I.D.

Print Magazine

Bibliography recommended reading

Adamson, G. (2012) The Invention of Craft, Berg

Attfield, J. (2000) Wild Things: The Material Culture of Everyday Life. London: Berg.

Aynsley, J. (2001) A Century of Graphic Design,

Bierut, M et al (eds) (2006) Looking Closer, Vol 5: Critical Writings on Graphic Design, Allworth Press

Bierut, M et al (eds) (2002) Looking Closer, Vol 4: Critical Writings on Graphic Design, Allworth Press

Bierut, M et al (eds) (1999) Looking Closer, Vol 3: Critical Writings on Graphic Design, Allworth Press

Bierut, M et al (eds) (1997) Looking Closer, Vol 2: Critical Writings on Graphic Desig,n Allworth Press

Bierut, M et al (eds) (1994) Looking Closer, Vol 1: Critical Writings on Graphic Design, Allworth Press

Buchanen, B., Doordan, Margolin, V. (2010) The Designed World: Images, Objects, Environments,  Berg

Bruton, D. & Radford, A. (2012) Digital Design: A Critical Introduction

Charney, D. (2012) The Power of Making: The Case for Making and Skills. London: V&A Publishing

Clark, H. & Brody, D. (2009) Design Studies: A Reader Berg

Heller, S. (1999) Design Literacy: Understanding Graphic Design Allworth Press

Heller, S. (2002) The Graphic Design Reader Allworth Press

Fallen, K. (2010) Design History: Understanding Theory & Method Berg    

Jobling.P & Crowley. D, (1996) Graphic Design - Reproduction and Representation since 1800, Lees-Maffei, G., & Houze, R. (2010) The Design History Reader, Berg

Lees-Maffei, G. (2011) Design Writing: Words and Objects Berg

Levine, F & Heimerl, C. (2008) Handmade Nation: The Rise of DIY, Art, Craft and Design. New

York, NY: Princeton Architectural Press

McDonagh, D. (2004) Design and Emotion: The Experience of Everyday Things. London: Taylor & Francis.

Poynor, R. (2003) No More Rules: Graphic Design & Postmodernism Lawrence King

Poynor, R. (2005) Communicate: Independent British Graphic Design since the Sixties Yale University Press

Manghani, S. (Ed) (2013)  Images: Critical and Primary Sources Berg

Noble, I. (2011) Visual Research: An Introduction to Research Methodologies in Graphic Design AVA Publishing

Lupton, E., (1999) Design Writing Research: Writings on Graphic Design Phaidon

Moeran, B. (Ed) (2010) Advertising: Critical Readings Berg

Partington, M., & Sandino, L. (2013) Oral History in the Visual Arts Berg

Rose, G. (2001) Visual Methodologies: An Introduction to the Interpretation of Visual Materials. London: Sage.

Triggs, T. (2003) Radical Typography Design  Harper Design

Twemlow, A. (2006) What is Graphic Design For? RotoVision

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