The aim of the course is to provide students with contemporary typographic forms of expression through experimental projects.
Teaching the advanced history of typography, typographic terminology, classification of typefaces; encouraging for making research about typography and making connections with history. Instructing typographic design criteria through studio projects.
|Learning Outcomes of the Course||Learning Outcomes of the Program||Teaching Methods||Measurement Methods|
To have knowledge and experience about the basic design principles of graphic design and typography
|Ability to solve design problems creatively||2,3,4,5||3,4||1,3,4|
To be able to interpret texts through typographic designs
|Utilizing different materials to produce modern and original designs in the design process||2,3,7||2,3,4||3,4|
|To be able to analyze art and design problems||10,12||2,4,5||2,3,4|
|1||Introduction to Experimental Typography|
|2||Experimental Typography in the Context of Modern Art|
|3||Futurist Typography: Marinetti, Apollinaire, Tzara, Zdanevich|
New Typography: Letters, Text, Experimental Typographic Systems and System Breaking in Typography
|5||Typographic Expressionism, Swiss Design ’, International Typographic Style Wolf, Wolfgang Weingart|
|6||Postmodernism: April Greiman, Neville Brody and Face Magazine, Emigre|
|7||Max Kisman Cut / Copy / Paste, Katherine Zask Break-Split and Take New Meanings, Stefan Sagmeister Style = Fart, M / M Paris (No Ghost Just A Shell, Alphabet)|
Typography and Imaginary Transformation (15 Work Samples in which the Art of Typography and Scenarios Become Cult Movie Posters)
|9||Typography as a Third Dimension - Letter Design|
|10||Experimental Approach in Typographic Design (Poster, Double Page Design, Cover Design)|
|11||Image, Emotion and Enthusiasm in Typography|
|12||Color as a Typographic Expression Format|
|14||Converting Words to Image|
BRINGHURST, R., The Elements of Typographic Style, Hartley and Works, Vancouver
LUPTON, E., Design Writing Research, Phaidon, London, 1996
Baines, P., Haslam, A., Type & Typography, New York: Waston-Guptill Publications: New York, 2005.
Spiekermann, E., Ginger, E. M., Stop Stealing Sheep & Find, Out How Type Works, Berkeley: Adobe Press, 2003.
Lupton, Ellen, Thinking With Type, NY: Princeton Architectural Press, 2010.
Kane, John, A Type Primer, London: Laurance King, 2011.
|Midterm Studies||No||Percentage of Contribution|
|Seminar and Presentation|
|Ratio of Final to Success||%60|
|Rate of Success in the Year||%40|
|Course’s Contribution to Program Outcomes|
|No||Program Learning Outcomes||Contribution Level|
|1||Ability to develop courage to search and try to creative design solutions as well as the functional purposes.||x|
|2||Awareness of professional responsibility to create designs considering cultural and individual needs of the audience.||x|
|3||Gain ability to conduct research, to create theoretical knowledge, and to make suggestions.||x|
|4||Ability to produce texts in academic formats.||x|
|5||Gain competence at the level of expertise in art and design related fields.||x|
|6||Ability to develop design projects by knowledge and skills in the field of design with a critical approach.||x|
|7||Ability to use technological equipments required by the field in advanced level.||x|
|8||Follows the current information about design culture, and adapts them to the projects.||x|
|9||Gain ability to the conduct interdisciplinary projects in the chosen field.||x|
|10||Ability to do extensive reading in design related fields.||x|
|ECTS / Workload Table|
|Course Length (14 x total course time)|
|Study time out of class (Preliminary work, reinforcement)|
|Seminar and Presentation|
|Total Workload / 25 (h)|
|Course’s ECTS Credit|