|
Lecturer(s)
|
-
Labudová Michaela, MgA. Ph.D.
-
Frič Pavel, MgA.
|
|
Course content
|
These informations are in the annotation of the course.
|
|
Learning activities and teaching methods
|
|
unspecified, unspecified, unspecified
|
|
Learning outcomes
|
The aim of studying in the Visual Design Studio is to educate students to be professional creators in one of the many fields of contemporary design, without being from the beginning of their studies, resp. their careers, preferred by some media over others. Under the term visual design, one can imagine any activity leading to the upliftment of perception, to a more optimistic impression of the surroundings, especially when we can and can have our creative share in everything that surrounds us. Students will try out the whole spectrum of disciplines, which they will be able to pursue in the future, without being bound in this phase by the parameters and criteria for which specialization. Some of them turn to graphic design during and especially after their studies (so far they have been surrounded by it to the greatest extent possible), some use their verbal skills and work as external accounts of advertising and communication agencies, hired to present or defend controversial or demanding projects. . Some will probably discover a healthy dose of exhibitionism and will take on the role of playwrights of cultural events, or as coordinators of multimedia projects, which they must also deal with during their studies. And they will all have a basic awareness of contemporary aesthetics, of the company's ability to perceive and accept the creative attack of tens and hundreds of designers in fields of such scope and quantity that we may not even be able to imagine today. For this subject, it is not possible to precisely determine the topics (syllabus) of teaching after individual weeks (blocks) of teaching, because it is a type of teaching specific to art schools. This course is a studio teaching, which is very flexible and tries to address the individual needs of students, both in the field of theory and in the field of practical implementation of the resulting product-artifact. This means that unique current topics (theoretical, technological) are addressed throughout the semester, depending on how the gradual implementation of individual projects develops depending on specific assignments. Therefore, the solved topics cannot be strictly determined in advance, as they crystallize gradually during the semester.
The gained capabilities constitute an encompassment and an aquirement of knowledge and experience in the subject and are aimed at a profile´s fulfilment of the graduate of the given field of study.
|
|
Prerequisites
|
Successful completion of the previous study
|
|
Assessment methods and criteria
|
unspecified
1. Fulfililing partial tasks and assignments throughtout the semestr 2. Active participation in the Studio tutoring
|
|
Recommended literature
|
-
Babák, P. a kol. Proto. Quick brown fox juks over the lazy dog. UMPRUM, 2013.
-
Jean, Georges. Písmo, paměť lidstva. Slovart, 1994.
-
Kočička, Blažek. Praktická typografie. Computer Press, Praha, 2001.
-
Kolektiv autorů. A History of Graphic Design. Gestalten, 2011.
-
Kolektiv autorů. Čeština, jak ji znáte i neznáte. Academia, 1996.
-
Michl, J. a kol. Nefoťte před knihovnou. UMPRUM, 2012.
-
Ogilvy, David. Zpověď muže, který umí reklamu. Pragma, 2004.
-
Pincas, S.; Loiseau M. Dějiny reklamy. Taschen, 2004.
-
Poulin, Richard. Jazyk grafického designu. Slovart, 2012.
-
Samara, Timothy. Grafický design - Základní pravidla a způsoby jejjich porušování. Slovart, 2016.
-
Simmons, J. Kompletní příručka pro designéry. Slovart, 2009.
-
Sylvestrová, M.; Bartelt, D. Český filmový plakát 20. století. Moravská galerie v Brně, 2004.
-
Toscani, O. Reklama je navoněná zdechlina, Slovart, 1996.
-
Tóth, E. Design and Visual Culture from the Bauhaus to Contemporary Art. Optical Deconstructions. Routledge, 2018.
-
Twemlowová, A. K čemu je grafický design. Slovart, 2008.
|