pdf, student, handbook

LEEDS COLLEGE OF ART GR APHIC design yearS ONE TO THREE ou BA(Hons) Degree course Handbook 2010/11

This Handbook tells you about your course What you will learn, what jobs or professions it can lead to and how you can make the best use of your opportunities whilst studying here. it also includes an introduction to Leeds as a city.

If there is some information you would like to know, which you cannot find here, the Student Advice Team or your Course Tutors will be only too willing to help you or fill in the missing details.

GR APHIC design - Year one TO THREE

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Contents

Page

Section

Page

Section

03

Fundamental Programme Details

37

04

People Who your course tutors are How is the college managed Student representation Student advice team

Medical and Health Matters Health and personal problems Police

38-39

Budgeting and Finances Fees and loans Bursary and Access Fund Financial guidance Part-time work Expenses Accommodation

40-41

Course & College Rules Behaviour and respect for others Graduation Course work Health and safety Web safety Fire evacuation procedure Smoking, drugs, property and security

42

Equipment signing out sheet

05-13

Course Structure Course philosophy Aims and outcomes Programme overview Level four Level five Level six Teaching and learning strategies The studio How to keep informed Glossary of terms Working off site

14-15

Academic Calendar

16-26

Contextual and Theoretical Studies Objectives Teaching Research Skills Research sources General bibliography Glossary of key terms Doing presentations Essay writing The Harvard convention Tutors

27-33

Assessment Assessment information Assessment regulations Mitigating circumstances Marking Scheme Assessment criteria Progression and awards

34-36

Learning Facilities and Resoucres The College Library Computer resources Photography and video resources Use of the internet Workshops and the print room Departmental resources

GR APHIC design - Year one TO THREE

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FUNDAMENTAL PROGR AMME DETAILS

Welcome to Leeds College of Art. We hope that you ďŹ nd your studies here both rewarding and enjoyable and that this handbook will be of use to you in gaining both an understanding of your programme of study, and the operations and procedures within the Department. The College has a long history of delivering degree level qualiďŹ cations at undergraduate level.

Institution Leeds College of Art Department Higher Education Programme Leader Fred Bates Programme Award BA Honours Programme Title Graphic Design Funding Body HEFCE Relevant QAA subject benchmarks Art & Design Date of Validation 2008 Programme Start Date September 2010 Duration/length of Programme 3 years (full-time) Credit Value 360 credits Notional learning time 3600 hours Delivery Site Leeds College of Art Document publication date September 2010

GR APHIC design - Year one TO THREE

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People

Who your course tutors are The College is independent and receives most of its money from the Government. The Principal is responsible for the running of the College, guided by the Governing Body, who have the responsibility to make strategic decisions. The senior management team of the college are as follows: Simone Wonnacott - Principal Sharon Bailey - Director of Finance Dave Russell - Dean of the Faculty of Further Education Simon Thorpe - Dean of the Faculty of Fine Art & Design Stephen Smith - Dean of the Faculty of Media & Design Communication Teaching Staff Fred Bates BA - Course Leader fred.bates@leeds-art.ac.uk Graphic Design/Illustration/Visual Communication Lorenzo Madge - Year Tutor lorenzo.madge@leeds-art.ac.uk Graphic Design/Design for Print Jo Rucklidge - Year Tutor jo.rucklidge@leeds-art.ac.uk Graphic Design/Design Theory/Visual Communication Amber Smith - Year Tutor amber.smith@leeds-art.ac.uk Illustration/Digital Media/Visual Communication Richard Miles - Contextual and Theoretical Studies richard.miles@leeds-art.ac.uk Graham Tansley - Typography graham.tansley@leeds-art.ac.uk John Watters - Art Direction and Professional Practice john.watters@leeds-art.ac.uk Joe Gilmore - Design for Print and Professional Practice joe.gilmore@leeds-art.ac.uk Jane Denton - Professional Practice jane.denton@leeds-art.ac.uk Bridget March - Enterprise Studies bridget.m@leeds-art.ac.uk Mick Welbourn BA - Printmaking mick.welbourn@leeds-art.ac.uk Paul Bennett-Todd - Photography paul.bennett-todd@leeds-art.ac.uk Michael Flower - Mac Suite michael.flower@leeds-art.ac.uk

Simon Harrison - Mac Suite simon.harrison@leeds-art.ac.uk Chris Graham - Tutor Librarian chris.graham@leeds-art.ac.uk James McBeath - Digital Print james.mcbeath@leeds-art.ac.uk Visiting/part-time lecturers will be brought in as appropriate to supplement the core team delivery.

Administration Lynsey Oates - Course Administrator lynsey.oates@leeds-art.ac.uk 0113 202 8291 STUDENT REPRESENTATION The Student Liaison Assistant, James Murphy, is paid by the College to help the Students’ Union and to liaise between students and the staff. He can be found in the Union Office in the Mosaic Bar at Blenheim Walk, or contacted on 0113 2028296 or by email at: james.murphy@leeds-art.ac.uk.

The Students’ Union Executive Committee are student volunteers elected annually by the students. The students in the Students’ Union Executive could be, but are not necessarily, the same as the Course Student Reps. The Students’ Union exists for your benefit and can only work effectively if everyone supports it. It arranges social activities and events including the Scarlet Awards and the End of Year Ball. You do not have to pay to join as the College gives the Union a grant. The Student Liaison Officer or members of the Students’ Union will introduce themselves to you during the first few weeks of term, run events and activities and will issue NUS cards, all you need to bring is your College ID or enrolment slip and a passport photo to enrolment or to the Student Union Office.

STUDENT ADVICE TEAM Christine Bampton-Smith, Diane Knowles, Deborah Powell, Nicola Sheehan and Allison Stimpson are the staff of the Student Advice Team. They are located on the ground floor of the Blenheim Walk Building. If there is any matter of concern to you, whether relating to personal matters, study, careers or otherwise, the Student Advice Team is there to offer you help and advice. The Student Advice Team can be contacted on 0113 2028255, or by email at: info@leeds-art.ac.uk.

Roger Grech - Printmaking/Book Binding roger.grech@leeds-art.ac.uk

GR APHIC design - Year one TO THREE

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Course structure

Course Philosophy

AIMS AND OUTCOMES

Graphic Design at Leeds College of Art is a specialist programme of study through which you will develop your ideas and skills with an informed professional awareness and growing understanding of the social and ethical contexts of contemporary Graphic Design Practices.

The course complements the College’s BA (Hons) Visual Communication and considers the presence of the College’s existing Foundation Degree (FD) in Creative Advertising, and the future development of FD’s in Digital Film, Games and Animation and in Photography. It offers a commitment to enabling students to develop and challenge their understanding of the design process as a creative individual. The structure of the Graphic Design Course provides a theoretical underpinning for a creatively informed vocational practice. The course targets those individuals who have already positioned themselves within the debates surrounding the investigation and communication of message and meaning through type and/or image.

We believe that a Graphic Design graduate should be creatively capable, critically informed, professionally aware, and culturally sensitive. You should not only have an awareness of the options available to you but the confidence and understanding to make informed decisions about your future. With this in mind we have developed a course that aims to be educationally challenging and vocationally relevant.

The course embraces the diversity of 21st century graphic design practices including typography, illustration, packaging graphics, motion graphics, information graphics, editorial design, reportage and integrates design for print and digital media. You will become part of our growing creative community, be based in studios and workshops in our city centre HE site, be supported by staff with a wide range of practical and academic expertise and work with professional designers.

The programme supports a specialist and critically informed approach to contemporary Graphic Design. By integrating a conceptual and contextual engagement within the ongoing development of studio practice, the course focuses on establishing rigorous and flexible approaches to the development of creative, challenging and inventive solutions to brief led problems.

Throughout the course an emphasis is placed on developing a professional understanding of Graphic Design and its role within the creative industries. In addition to developing your skills in industry standard software, digital media and traditional technologies, you will be supported in your growing understanding of commercial practice, professional communication and business considerations. The course encourages a vocational focus through work-based learning live projects, competition briefs and supported professional research. This focus is underpinned by the systematic development of an individually appropriate but industrially relevant skills set.

Collaboration is central to the course ethos. We believe that an appreciation of the interdisciplinary nature of contemporary design practices and a willingness to engage with the broader contexts of the creative industries is key to success in your future. Through group work, collaborative briefs, critiques and the colleges Elective programme you will learn how to work as part of a team and identify your role within the design community.

GR APHIC design - Year one TO THREE

Industrial relevance and professional awareness are developed through the brief led nature of the course. Visiting lecturers, work placement opportunities and business studies will support competition briefs, live projects and professional research.

The introduction of collaborative practices in response to ‘Live’ project work, encourages an interdisciplinary understanding of specialist contexts and singles out the LCA programme of degree courses from the more academic provision in some HE institutions.

This course is delivered within a specialist art and design college with a wide range of courses to meet the needs of the creative industries. Within this context Graphic Design practices benefit from the College’s committed creative culture and its acute awareness of the creative industries, supported by a wide range of specialist resources.

The programme specifications summarises these aims as follows This programme is distinctive in that it: Is aimed at individuals who have already decided that they want to study Graphic Design or Illustration towards Print and Digital Media.

It aims to produce commercially active and culturally sensitive independent thinkers and designers, who can engage with a range of professional, ethical and philosophical debates and contexts.

It encourages the development of an increasingly specialist and deep understanding of fundamental research, design and communication skills, including visual literacy, visual language, visual thinking and visual research.

It engenders a flexible approach to the application of specialist practical and intellectual skills within a range of possible contexts.

It focuses from day one on developing the skills needed to respond individually, creatively and professionally to a clientcentred brief.

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Course structure

AIMS AND OUTCOMES CONTINUED Educational Aims of the Programme This programme aims to provide students with: • A specialised programme of study in Graphic Design with the opportunity to specialise in Illustration. the opportunity to develop creatively and vocationally relevant practical and intellectual skills in Print and • Digital media an honours level experience; • A high quality and challenging design education in a stimulating environment, appropriately resourced; • An academically rigorous course of study that reflects practical and critical Graphic Design practices; • The opportunity to develop a professional understanding of the design industry through optional work placement, industrial contacts and live projects.

• The ability to use intellectual and practical skills for independent, professional Design practice and higher study at MA level in a related discipline; • The ability to develop an individual and professionally relevant Practice in Graphic Design or Illustration; • The skills and knowledge to apply, consolidate and extend their learning in different professional frameworks and situations, both within the field of Graphic Design and beyond.

Educational Outcomes of the Programme On successful completion of this programme, a student will be able to: • Employ appropriate materials, media, techniques, methods, technologies, strategies and tools associated with Graphic Design practice, with skill and imagination whilst observing and establishing good working practice.

• Generate design ideas, concepts, proposals and solutions applying the visual languages, materials, processes and techniques which are common practice in the Design Industry.

• Demonstrate a practical and conceptual understanding of Graphic Design practice in relation to print and digital media, which enables the development of design idea/ solutions through to material outcomes.

• Employ a range of appropriate practical and conceptual research methods to investigate aspects of the creative, critical, cultural, social and ethical contexts of contemporary communication design.

• Apply their knowledge, skills and understanding in order to initiate, plan and develop design solutions in response to a range of brief led and self initiated projects.

• Develop a body of work and individual practice that demonstrates an appropriate understanding of the professional context.

PROGR AMME OVERVIEW Students embarking upon the programme are expected to acquire and develop the necessary practical skills, knowledge, attitudes, methodologies, approaches and intellectual abilities to successfully become independent Graphic Design practitioners who can engage in careers related to the creative industries.

These attributes are developed through 3 levels of study for the award of BA (Hons) Graphic Design.

The underlying philosophy of the course is to develop students to become autonomous learners with an appetite to continue learning after graduating. Engendering deep approaches to learning is a fundamental driver in determining the teaching and learning strategies. This is a gradual, evolving process through the levels.

Level Four Acquisition of fundamental practical skills and theoretical knowledge.

Level Five Acquisition of higher level practical skills, research, reflective and knowledge abilities, professional practice and project management skills.

Level Six Students act as independent learners devising, engaging and presenting their own self determined studio project and dissertation.

• Demonstrate an understanding of contemporary design practice, technical innovation and/or research through individual studio practice, contextual references and/or academic research.

• Appreciate, question and respond positively, creatively and individually to the inherent limitations, conventions and established professional practices of the Design Industry.

GR APHIC design - Year one TO THREE

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Course structure

PROGR AMME OVERVIEW continued Level Four Semester 1

Credits

Core Design Principles

20

Design Process

20

Visual Language (Semester 1 & 2)

20

Personal and Professional Development 1 (Semester 1 & 2)

10

Semester 2 Core Design Practice 1

Core Design Practice 3 Personal and Professional Development 3 (Semester 1 & 2)

Credits 30 10

Semester 2 Core Final Major Project

50

Dissertation (Semester 1 & 2)

30

30

Plus 10 Credits of Electives and 10 Credits Contextual and Theoretical Studies

LEVEL Four (year one)

Level Five Semester 1 Core Design Production Print

20

Design Production Digital

20

Design, Image or 1 Elective (Semester 1 & 2)

10

Personal and Professional Development 2 (Semester 1 & 2)

10

Semester 2 Core Design Practice 2

30

Enterprise & Innovation

10

Plus 10 Credits Contextual and Theoretical Studies

Level Six Semester 1

At the beginning of Level Four you will be introduced to design processes and skills through a series of short projects. These projects are designed to ensure students with different prior experiences all have the necessary foundation to progress successfully through the course. Theoretical elements will introduce the key concepts and methodologies underlying Graphic Design.

All modules are core (with the exception of elective choices).

In Design Principles you will be introduced to fundamental practical/conceptual skills underpinning design and the visual generation and communication of ideas. Design Process 1 introduces concepts surrounding design as problem solving and focuses on the application of a developing skills set to a range of short briefs that consider context, function and audience.

These two modules will be supported by a Visual Language module, which runs in the ďŹ rst semester. In this module you will develop an understanding of an exploratory approach to the fundamentals of drawing/image making through a range of contained visual problems and taught studio sessions.

Although assessed separately, Visual Language will inform the development of visual skills in Design Principles and Design Process 1.

During semester 2 students move towards specialisation through a practical, conceptual and contextual appreciation of their position within the ďŹ eld of graphic design. This is a more individually orientated period of study offering optional briefs and structured critiques that focus on developing areas of interest and specialisation. Design Practice 1 offers pathways in type/typography or communication through Image allowing students to develop a more sustained self directed programme of study within a structured framework. Running alongside this module the Professional Development module will inform the decision making process and nature/content of work produced in response to Design Practice briefs.

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Course structure

LEVEL four (year one) continued

LEVEL five (year two)

Theoretical knowledge and understanding will be introduced and developed through the Contextual and Theoretical Studies Module providing a thematic lecture and seminar programme delivered across both semesters. Learning from this module is reinforced and further contextualised through studio based crits, tutorials and group discussions.

The predominantly tutor led Level Four experience begins to shift in Level Five to develop students abilities to research, reflect, develop and analyse their practice in more depth with a greater emphasis on tutorial, critique and peer strategies to facilitate this transition. Project work is produced in response to briefs but is developed and managed with increasing independence and with a focus on specialism and professional context in relation to communication, message, character and narrative.

Patterns of Learning • ‘Studio Development’ implies self-directed study and workshop drop-in as required.

• ‘Studio Session’ refers to taught/staffed studio sessions which will involve group work, seminar discussions, individual tutorials and supervision. The sessions run in conjunction with workshop and crit rotations where necessary.

• Workshop introductions and taught sessions will take place in 2 groups A+B. • Crit Groups will consist of nine students operating in a four-group rotation.

The Electives Programme The electives programme delivered at Level Four provides an opportunity for students to acquire additional experience and skill in a range of subjects which are studio, workshop or theoretically based. Students have a choice in selecting their courses which will either augment their core Graphic Design modules or enable wider knowledge and experience that they would not otherwise receive on their main programme.

The Elective programme is replaced at Level Five by optional modules (Design Practice 2 and Visual Language 2) that encourage broader interdisciplinary and collaborative approaches to studio practice.

Semester 1 focuses on the acquisition and application of higher-level design production skills and conceptual skills in Print and Digital Media. You will develop greater professional understanding of print and digital processes in the development, resolution and distribution of design solutions. Content will be student centred and stem from brief led but individually orientated research that will reflect identified specialisms and interests in graphic design, typography or illustration from Level Four.

The flexibility and breadth of the elective programme is replaced at Level Five by a choice of optional modules allowing students to explore and continue to establish specialist practices that will inform production processes. Design (Communication Through Type) will allow students to develop a greater understanding of type and layout through focus workshops. Image will offer the option of further developing drawing as practice through visual research methodologies. The ongoing move during Level Five is to encourage learning strategies that develop greater autonomy and independence in decision-making when interpreting and handling briefs.

Semester 2 establishes a framework for specialist practice in design, typography or illustration through Design Practice 2.

An exploratory programme of negotiated briefs and self directed projects would allow you to consolidate and further explore design processes, skills and methods towards the development and distribution of design solutions. Design Practice 2 will be informed and consolidated by Professional Practice 2 (running simultaneously). This module facilitates decision making towards optional work placement, professional research and the proposal for specialist independent study at Level Six. Theoretical knowledge and understanding will be further developed and explored through the Level Five Contextual and Theoretical Studies programme and reinforced through studio based critiques, tutorials and group discussions. This module will culminate in the proposal for a Dissertation at Level Six determined in consultation with the theory and studio practice based tutors.

GR APHIC design - Year one TO THREE

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Course structure

LEVEL six (year three) You will have been prepared for and are expected to develop an independent practice, synthesise prior learning, and develop a professionally orientated body of work in response to given and negotiated problems and briefs. Level Six will be student led supported by tutorials, crits and academic/technical input.

At the beginning of Level Six you will establish your specialist position within the field of Graphic Design or Illustration and independently undertake an agreed set of projects in the form of professional/industrially orientated design briefs. The Design Practice 3 module is designed to offer further exploration of specialist areas of study through focused research, development and resolution through print and/or digital media. This module will also provide a possible testing ground for ideas, concepts and contexts that may be developed further in the Final Major Project. A simultaneous Professional Development module will enable you to propose, plan and establish a professional context for their work based on previous levels of study and self directed aims, ambitions and intentions. The aim of this module is to focus students on the production of a professional portfolio, business plan/cv, publicity material and developing commercial contacts.

Seminar The seminar functions as a forum for the discussion and debate of ideas. The major concern is the exchange of opinion between staff and student or student and student. Preparatory work is normally required prior to a seminar. It is important that you take responsibility for such preparation and recognise the value of full participation in seminar discussion. A seminar may be initiated and led by staff, a visiting speaker or may focus on a student presentation.

Critique (‘Crit’) The critique (or crit) is considered an essential part of your learning experience. The functions of the crit are: • To encourage you as students to examine your own work in relation to that of your peers • To identify common issues • To consider work produced in relation to the objectives of a project • To articulate learning outcomes

In addition, the crit focuses attention upon a range of interpersonal communication skills and an appreciation of group dynamics. A crit would normally be organised by subject tutors, although student-led crits are used where appropriate. At certain times in the course a guest lecturer may be invited to run a crit.

It is important that the crit is managed effectively and is Semester 2 focuses on a negotiated and self initiated Final organised in such a way that all students contribute actively Major Project designed to synthesise prior learning and establish to the process of review and analysis involved; it is also students as independent learners allowing them to potentially important that the crit has a clear agenda and timetable which demonstrate attributes of deep learning and capability as is adhered to. practicing designers.

Tutorials Tutorials are generally one-to-one or small group discussions focused upon subject based concerns derived from a particular TEACHING AND LEARNING STR ATEGIES module. Tutorials provide opportunities for detailed discussions of your work and/or performance. They can be directed at The course incorporates a wide range of approaches to pastoral problems, academic issues, and career advice or teaching and learning. Each module descriptor describes to discuss direction within the course and performance on it. the teaching and learning methods employed, supporting the They will normally be timetabled as part of your course. aims and objectives of the module. The underlying nature Tutorials may last between 10 and 30 minutes, and during this of the course programme leads towards individual studenttime a number of issues will be discussed. These will include: directed development. Throughout the course student learning derives from a range of teaching and learning formats and an • Student progress in current/previous modules engagement in a range of course work activities. and projects The theoretical aspects of design will be developed through critical engagement with practical work as well as being underpinned by the research and delivery of a relevant dissertation supported by tutorial input.

Lecture The lecture is normally a formal learning experience involving a presentation by a member of staff or a visiting professional. It is used to disseminate a specific body of knowledge to students.

Since it is considered important that you have the opportunity to respond to a lecture presentation, it is usual that there is an open question and answer session directly after a lecture or the ideas and issues generated by lectures will be explored (at greater length) through supporting seminars.

GR APHIC design - Year one TO THREE

• General educational development • Suggestions for improving development and progress • Discussions regarding the students’ future programme of study (option modules etc) • Personal issues (Note: students are advised that they need not divulge any information unless they want to).

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Course structure

TEACHING AND LEARNING STR ATEGIES CONTINUED Keeping Records A Tutorial Record form is used to record the key issues identified and any recommendations made. Staff will complete the form and students will see what has been written. The tutor will keep the original form and the student will retain a copy.

Students should keep all such records and bring them to subsequent tutorials.

Studio Practice Great emphasis is placed upon learning through direct experience, both inside and outside of timetabled hours.

This is the practical engagement with your creative work and is referred to as your studio practice. The project work and workshop experience involved in this are supported by crits, tutorials, written work and presentations. In addition, a wide range of interpersonal, oral, presentational and team skills are developed through direct experience on the course in a variety of situations.

Research Files The course requires a range of supporting material/experiences to be recorded and presented for assessment. At Level Four this will take the form of a critical diary. This may take the form of a research file or document; a record of responses to material/ issues/ideas encountered; a visual and verbal diary or journal; a sketchbook or notebook; or a record of tasks undertaken.

A file should involve critical reflection upon, and evaluation of, the material contained and be more than a mere collection of available material. You will, therefore, normally be required to produce a summary statement or brief report on a file, as well as to organise it in a suitable and effective manner. Production of the file should help to develop your sense of ownership of ideas and processes, how these can evolve through a variety of ways and experiences, and encourage a synthesis of theory with practice. The presentational format is variable and guidelines are provided within individual project briefs and established through discussion with your tutors.

Briefs The brief is an essential feature of teaching and learning. It provides a framework through which you can explore a theme or issue utilising a range of materials/media and combinations of theoretical and practical considerations. Both individual and group projects can be utilised within the course. A studio project could include the following: • Presentation of information and requirements in the form of a project brief • Discussion of issues and ideas generated by the brief • Programme of research, investigation, continuing evaluation and review, ideas generation, studio practice, workshop activity, written assignments, seminars, supporting lectures, workshop sessions and subject/ individual tutorials, etc.

GR APHIC design - Year one TO THREE

• Interim presentation or review of work often involving a crit, group or individual tutorials • Final presentation of work which might take the form of an exhibition, student presentation or group crit, supported by written reports, evaluated research documentation etc.

• Student evaluation of work produced and feedback from staff • Group de-briefing involving critical evaluation of the project by staff and students supported by individual tutorials • Expected outcomes and assessment schedule.

Written Work The course involves a range of written assignments. These include essays, seminar papers, written reports as project outcomes, files/research documents/visual diaries maintained as a record of, and reflection upon, a given period of study time.

Oral Presentation Throughout the course programme you are required to use the spoken word to support your work in both formal and informal situations. This will involve: seminar presentations; oral reports to support projects; contributions to seminars and group tutorials; individual and group presentations of research.

Independent Study Independent study is an important part of the course. It is important that you take responsibility for your own learning and your own contribution to it (including setting personal goals and creating individual programmes of study within the framework of the course as a whole). As the course progresses, staff act more as facilitators and enable and encourage learning by supporting an appropriate route of study for your development, suggesting areas of investigation and provision of academic counselling.

The opportunities to select an individual route and to define personal programmes of study increase as you progress through the course.

THE STUDIO The Studio is the focal point of the BA (Hons) Graphic Design department around which the three levels of study operate.

The studios are open 8.30am to 9pm Monday – Thursday, closing at 8.00pm on Friday during term time, and open Saturdays 10.00am to 4.00pm. The studio is a specialist working environment, a dedicated space for the practice, experimentation and active debate. Within the studio the course promotes: • The use of a common studio which is flexible rather than personal.

• The use of bookable and negotiated workspaces for the development and realisation of resolved work. page 10

Course structure

THE STUDIO CONTINUED • The integration of workshop access and drop in as an extension of the studio environment.

• The productive, appropriate and responsible use of working off site as a key aspect of the development of mature studio practice.

• A dedicated briefing / meeting space.

• A commitment to the interdisciplinary nature of Graphic Design practice today.

• An open invitation to take part in all cultural activities across the three levels of study where appropriate; talks, visits, external projects.

Although the studio should be a vibrant and exciting place to be it should also be seen as a space for focus and reflection. The studio should be an environment that can accommodate a range of individual approaches to learning and the production of work.

When working in the studios it is important that you consider the needs of other students who share the space and with this in mind we believe that mobile phones should be kept on silent and answered outside the studio. Similarly the use of radios, cd players and other personal entertainment devices that will generate distracting noise are not welcomed in the studio during core hours and taught sessions. It is expected from the outset of the course that full time students undertake the development of their projects within the studios, workshops and college environments and full time attendance at timetabled sessions is expected. Clearly working off site when appropriate during periods of self directed study is something that is encouraged as is the independence to develop your own working methods throughout your time on the course. This however should not be at the expense of your engagement with the course and college/ studio environment. Make sure that you are regularly making contact with your tutor, teaching staff and the studio.

Learning Support Students begin their degree programme from a range of different backgrounds, and with a variety of educational qualifications.

Not all design students are natural academics, in the same way that not all students studying academic subjects are gifted designers. Students who find written work particularly difficult – sometimes because English is not their first language, or through dyslexia, are encouraged to take advantage of the Study Skills tutorials run by Academic Support tutors, or the tutor for English as an Additional Language. These tutorials are based in Room G22 on the Blenheim Walk site and can be used on a drop-in, or a regular appointment basis. Information about Study Skills tutorials are available on the College Intranet or from course tutors or Contextual and Theoretical Studies staff.

If you require further information or assistance, ask Frances Bosley, the Learning Development Manager, in Room G21, Blenheim Walk.

GR APHIC design - Year one TO THREE

HOW TO KEEP INFORMED E-mail Much of the Department communication is by email. Check your email regularly, so that you know what you should be doing and where and when you should do it. Computers to access E-mail are located both within the studios, the IT departments, college library and LRC. At your computer induction you will be provided with User Names to access the college computers and software.

Notice Boards The white boards are located in the studio. Here you will find general information and special notices such as signing-up forms for individual tutorials and workshops. Check the notice boards every time you come to the studios and always before going to a seminar or lecture as changes of time or venue are sometimes necessary. Find out where your level notice board is located.

Graphic Design Blog The Graphic Design Blog is the most immediate way of keeping up to date. Staff and students post information here regularly and course news and discussion flourish. It is your Blog and you are expected to check it regularly at http://gdesgroup.blogspot. com. Garry Moffat will introduce all students to the Blog at the outset of the course.

Mail Boxes These are situated in The Studio. Messages for individual students are placed here. They too should be checked regularly.

You may also use them to communicate with other students within the Faculty.

By Post It is sometimes necessary to write to you, so please inform us of any changes of address in Leeds or at home. Change of Address forms can be obtained from the Graphic Design Office, to whom they should be returned when completed.

HAVING YOUR SAY Throughout your time at the college there will be plenty of opportunities to express your views on the curriculum, facilities and college environment. There are a number of formal and informal ways of voicing your opinions and giving us feedback on your experience during your studies.

Course Consultative Committee This important two way channel for communication between staff and students throughout the College meet regularly each term. Representatives nominated from each level of the course are responsible for keeping in touch with their group, bringing forward suggestions and matters of concern, disseminating information and helping us to keep in touch with your views. If you are interested in representing your year/programme of study, please contact the Course Administrator.

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Course structure

HAVING YOUR SAY CONTINUED End of Module Feedback At the end of key modules you will be able to give us written feedback on the content of briefs, input of staff and access to facilities as well as suggestions as to how we can improve the educational experience.

End of Year Review Like end of module feedback but bigger, this is an opportunity for you to help us develop the course year on year. You will be asked to fill in a questionnaire that allows your input suggestions and opinions to have a genuine impact on the course and the college as a whole.

Tutorials Tutorials offer you a direct and immediate forum for you to discuss issues relating to your time in college and give us relevant feedback. Be open and be honest with your views and any issues that arise. If there is a problem we may be able to solve it. If it is a suggestion it may have an immediate effect on your education and that of other students.

Suggestion Boxes A flexible, anonymous and often informative method of letting us know of any issues relating to the college facilities and college environment. Suggestions are always read by the Principal and can result in important improvements. Ultimately if we don’t know there is a problem there is little we can do about it.

Self Evaluation Report At the end of each year the course team has to compile a selfevaluation report for submission to the college management.

This is an important document that has an impact on the academic, strategic and financial decisions made by the college and the course team. Issues raised through the above systems provide essential input and evidence for maintaining and developing the courses educational aims.

Your opinions count. If the Graphic Design Programme is going to develop and the college is going to grow, we need your input.

GLOSSARY OF TERMS The following terms are commonly used by tutors to describe different aspects of your course and the procedures relating to assessment. Please refer to this glossary if you are unsure of the meanings of any of these terms.

Regulations This handbook deals with all of the technicalities that relate to your degree such as assessment procedures and course structures.

College Electives These are electives that are available to all of the colleges BA courses and include things like printmaking and foreign languages.

GR APHIC design - Year one TO THREE

Contact Hours Contact Hours represent the proportion of the course during which time you will be in contact with a tutor.

Course Consultative Meetings The formal method of communication between students and the Course Team. The meetings are minuted and fed into the course Strategic plan.

Programme Specification The Programme Specification is the document that is approved by the Open University and defines what you are taught and what we hope that you will be able to do having completed the degree. See also Modules and Learning Outcomes.

Credit Value The Credit Value is a numerical weighting that is applied to each of the modules. It indicates the importance and length of the module, for example Final Project has a credit value of 60 whilst Negotiated Study has a value of 30 credits. Completing each module will provide you with a certain number of credits towards your degree.

Learning Outcomes The Learning Outcomes describe what it is that you should be able to do after completing the particular task. They are written into the Module Descriptors found in the Programme Specification. An example of a learning outcome for the module Final Project would be to employ an art practice which demonstrates their knowledge and professional competencies relative to their experiences in previous levels of study and you should be able to do this after completing the module. If there is more than one brief in a module, not all outcomes will necessarily be included on each brief.

Modules A module is the term used to describe one of the subject areas that the course is divided into. Examples include, Negotiated Study, Final Project. Details of the contents of each module are provided in the Programme Specification.

Module Evaluation This is a form that will allow us to gauge the success of the module from the students point of view. You will be asked to complete this form giving your opinions of the module after you have completed it.

Project Brief The project brief is the means by which we identify what it is that you are required to do for a specific project or part project. It will contain clear information about the context of the project and identify the specific Learning Outcomes for each of the relevant modules.

Private Study / Self This is time during your normal working week which you should use to develop the understanding and skills that you have been introduced to during your Contact Hours. page 12

Course structure

GLOSSARY OF TERMS CONTINUED

WORKING OFF SITE

Student Charter The Student Charter outlines what it is that we as a college should provide and what you as a student should reasonably expect from your time here.

The BA (Hons) Graphic Design course encourages students to engage with outside agencies and to collaborate with professionals, other students and members of the public.

Students must note that in these situations they are representing the course and must act professionally, ethically and responsibly in all their contact beyond the course. The following guidelines indicate key areas to consider when working offsite.

Student Contract You are asked to sign a student contract at the start of the course, agreeing to abide by the Student Charter.

Student Reps The elected member of the group who acts as a formal voice for the other students at Course Consultative meetings and college wide meetings.

Tutorial In addition to tutorials given during the course regarding your work, you will be allocated a personal tutor and are entitled to three tutorials to review your personal progress each academic year.

Video documentation Offsite or time-based work (events, performances, workshops, etc.) should be video documented, where possible, for assessment. You should also make course staff aware of live events before they take place so they have the option of attending in person. Still photography may not be wholly sufficient for documenting live events for assessment.

Documentation of offsite or time-based work should then be handed in with the rest of your work for the assessment deadline.

Questionnaires and Letters If you are using questionnaires, either as part of your research or your actual projects, you should first show any information and/or questions to a member of staff (after checking grammar and spelling yourself). The same applies for letters to outside agencies. Once checked by a member of staff, you may use letter-headed college paper supplied by Anne Peden.

Personal Safety For your own personal safety, you should always let somebody know when you are planning to work with the public. If you are visiting a person or premises unknown to you, you should go accompanied by someone you know. You should not enter any situation where you feel uncomfortable, if you have any doubts or uncertainties you should discuss these with a tutor.

Health and Safety Any work you wish to install on college premises should be cleared with the Health and Safety officer. Work you are producing offsite should not endanger yourself or the public, or cause damage. You should always obtain the necessary permissions for any site-based work.

Group Work Some modules involve collaboration either with your peer group or people outside the course. For assessment purposes, you may be required to discuss and show evidence of your individual contribution to group work or to take part in peer group assessment. Any problems arising through collaborative work should be discussed with your tutor.

GR APHIC design - Year one TO THREE

page 13

ACADEMIC CALENDAR

YEAR ONE

YEAR TWO

Semester 1

Semester 1

Level 4: Enrolment/Freshers Week/Induction

13 Sept

Level 4: Enrolment/Freshers Week/Induction

Module OUGD101 commences

20 Sept

OUGD201 Design Production Print 20 Sept - 11 Oct

Module OUGD104 commences

27 Sept

OUGD206 PPD2 Enterprise and Innovation

Level 4: Tutorials Week

25 Oct

Elective 1 OUCS106 begins

01 Nov

Assessment and Feedback

22 Nov

Module OUGD102 commences

29 Nov

Presentations

06 Dec

Christmas

20 Dec - 03 Jan

Presentations and critical diary

10-24 Jan

Portfolio Assessment OUGD102 Submission

28 Feb

Reading Week

21 Feb

Module OUGD103 commences

28 Feb

Submission

21 Mar 04-18 Apr

Submission

16 May

Presentation Assessments

30 May

Portfolio Assessment and Feedback

06 Jun

Visits/Professional Development College Exhibitions

GR APHIC design - Year one TO THREE

OUCS206 Contextual and Theoretical Studies Submission

20 Sept - 11 Oct 25 Oct 01-15 Nov 22 Nov

OUGD202 Design Digital

29 Nov - 13 Dec

Christmas

20 Dec - 03 Jan

OUGD204 Design

10-24 Jan

OUGD205 Image (option)

Semester 2

Easter

Level 5: Reading Week

13 Sept

Submission Semester 2 Research Visits Week

21 Feb

OUGD203 Design Practice 2

28 Feb

Module OUGD103 commences

28 Feb

Submission

21 Mar

Easter

04-18 Apr

Dissertation Tutorials

16 May

PPD Presentations

30 May

13 Jun

Final Assessments

06 Jun

20 Jun

Presentations

13 Jun

College Exhibitions

20 Jun

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ACADEMIC CALENDAR

YEAR THREE Semester 1 Level 4: Enrolment/Freshers Week/ Induction

13 Sept

OUGD301 Design Practice 3 – Module Briefing

20 Sept

OUCS304 Contextual And Theoretical Studies

20 Sept - 11 Oct

Brief 1 Professional Practice Brief 2 Professional Skills Brief 3 Design Context Research Visits Week

25 Oct

Presentation

29 Nov

Submission

13 Dec

Christmas

20 Dec - 03 Jan

Presentation OUGD303 – Final Major Project Phase 1 – Proposal and Research Dissertation Deadline

10 Jan 17-31 Jan 07 Feb

Semester 2 OUGD303 – Final Major Project 28 Feb - 07 Mar Phase 2 – Selection and Development Presentation

21 Mar

Submission

28 Mar

Easter

04-18 Apr

OUGD303 – Final Major Project Phase 3 – Production and Resolution

25 Apr

Final Submissions

30 May

Final Assessments

06 Jun

Presentations

13 Jun

College Exhibitions

20 Jun

GR APHIC design - Year one TO THREE

page 15

CONTEXTUAL & THEORETICAL STUDIES OBJECTIVES On completion of Level Four students should be able to:• Demonstrate a familiarity with history and theory relating to art, design and culture and the implications of this within their studio work • Make full and effective use of primary and secondary sources, both locally and nationally • Formulate, analyse and express independent opinions and thoughts on art and design with reference to social, economic and cultural issues • Apply their learning from critical studies to develop creativity in other areas of their course programme • Communicate effectively in oral and written form, their analysis and interpretation of research they have undertaken On the BA (Hons) Graphic Design, Contextual and Theoretical Studies staff will be involved in the delivery of studio based modules and personal development modules where indicated.

Contextual and Theoretical Studies evidence • Students deliver one oral presentation • Students produce one 1500 word essay • Students produce one critical diary • Please see individual briefs for coursework.

Teaching Lectures Take notes in the lectures, as you will be asked to draw on the lecture content for your coursework.

Seminars Consult your timetable for dates and times. These will be either weekly or fortnightly depending on your course timetable.

The seminar will be made up of smaller groups from your course and there is an emphasis on group discussion.

Tutorials These will mostly be individual tutorials one-to-one with your Contextual and Theoretical Studies tutor.

Help with Writing In the early part of the year you will be asked to undertake an ‘Image Analysis Exercise’. One part of this exercise is to get you into the practice of writing in an ‘essay style’ and to wordprocess the results. A significant part of the critical studies work you will do relies on written communication. See this exercise as the very first step towards producing your first year essay.

Be positive, as writing can in fact be very enjoyable!

GR APHIC design - Year one TO THREE

You might be apprehensive about written work, however, we feel it is an important skill to develop and the likelihood is that your writing will improve over the duration of the course. If you think you will struggle then you must make use of the academic support staff who can help you with writing.

Tutors Karen Tobias-Green and other academic support tutors will be available for short tutorial sessions to help you through your written work if you have significant problems in this area. Please look up their details (also in this handbook) and look out for the notices they put up around the college.

Reading There is also an emphasis on reading. We have a fabulous resource in terms of the LRC at Blenheim Walk and the Library at Vernon Street, and we encourage you to use these extensively. If you are apprehensive about reading, then set yourself small tasks first, such as dipping into a page or two from one of the books from the Year One Bibliography, (also in this handbook) or have a look at a current art/design journal.

Research Skills Why Research?

Research is about gaining knowledge. Acquiring knowledge is a fundamental part of the educational experience. Remember you are studying for a BA honours degree; you should be aiming not only to become knowledgeable in the fields of art and design, but, also to be opening your mind to new ideas and new perspectives on your perception of the world. Knowledge is cheap to acquire and generally quite painless; it doesn’t hurt our heads once it goes in; rather, it becomes an exceptionally useful tool in that it opens doors for us; it can make our lives easier and richer. So, no research is ever ‘wasted’ even if it doesn’t hit the spot for a piece of coursework. Our aim is to encourage you in becoming active researchers, but also, to direct you towards the best sources for the purposes of your coursework.

You are all researchers already! All of us undertake research on a daily basis; for example, looking in the TV guide for what to watch on a night-in, or looking in a music magazine to locate gig listings are both forms of research. In each case you investigate a source, establish facts or information, and reach conclusions.

This same process can be applied to academic research.

Research Processes, Methods and Skills Most sources of information use ‘systems’ of cataloguing or categorisation. The example of TV and gig guides are a case in point. When we go shopping we understand that there are different types of stores for different things. So what is important is that we firstly understand how the source to be investigated is ‘systematised’.

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CONTEXTUAL & THEORETICAL STUDIES Research Skills CONTINUED

Research SOURCES

One of your initial concerns should be the understanding of the library catalogue. Our library uses the popular DEWEY system whereby, books are organised into subject areas.

Library The Leeds College of Art library is of course a specialist art and design library and as such should be valued as a fantastic resource for your studies. The breadth and standard of the library collection is very high and we recommend this be the first port of call before any internet access. Do please respect the hard work of the library staff by being polite and help them by returning books to the shelves.

Get to know the relevant category reference numbers for your course. Here are just a few:302.23 Media Studies 306 Cultural Studies 370 Study and Research Skills 390 Fashion 701.1 Aesthetic Theory and Art Theory 709.04 Modern Art 720 Architecture 745.4 Design History 746 Textiles 759.92 Individual Artists’ ‘Monographs’ 770 Photography 791.43 Film Browsing Get into the habit of browsing books and journals. Never be frightened of picking a book off the shelf; being ‘visual’ students means you should be responsive to images and in fact, when searching for images, flicking through books is a much speedier process than waiting for internet pages to download.

Below is a list of other sources besides books within the library that may prove useful:Journals These offer an excellent source for critical studies research.

Self contained articles will often provide exactly what you are looking for. Use the two online sources OVID or the Design and Applied Arts Index to locate journal articles relevant to your search. These can be accessed via the library computers, but you need the password which the librarian will give you.

Videos 1600 videos in the library. We now have a good selection of feature films and 1,000 or so educational videos with a comprehensive catalogue and filing system.

Dictionaries GROVE DICTIONARY OF ART, (Vernon Street Library).

The ‘Grove’ is a 34 volume encyclopaedia and offers a fantastic resource for art and design students.

Encyclopaedia Britannica (includes bibliography at the end of each entry).

World Wide Web The amount of material now available on the internet is Use contents pages of books and chapter headings, so as to phenomenal. Because of this – there is now some very good get a gist of what the book incorporates. Don’t feel that you need material to use for research. You need to learn how to search to read a book front to back. Rather, select out relevant chapters. effectively. There are two types of internet research tools: Use index pages for key terms or names. Again, just as quick Directories – e.g., gives you folders full of general topics as the internet if you are holding the right book!

– for example www.yahoo.co.uk Advantages of browsing: Search engines e.g., GOOGLE (very good) also ADAM and • Connections are formed in areas of knowledge there are specialist search engines – often university websites give lists of these.

• Fast / Variety and volume of information captured Try always to do the ‘advanced search’ whereby you can filter • Good way of getting to know what is ‘out there’ out words or type in specific phrases.

• Good way of developing a ‘visual vocabulary’ The internet can be useful for locating • Good way of forming connections between areas of • Specific topics knowledge, for example shared fields of knowledge e.g., art/design crossover with philosophy and sociology • Databases – journals / newspapers – back issues • Good for inspiration and generating ideas

• Government – documents, laws and policies • Personal web pages – designer, artist, - mission statements • Discussion groups • Communication – email

GR APHIC design - Year one TO THREE

page 17

CONTEXTUAL & THEORETICAL STUDIES Research SOURCES CONTINUED

General Bibliography

Relevant websites CCMS Communication, cultural and media studies http://www.cultsock.ndirect.co.uk/MUHome/cshtml/index.html good for referencing definitions of key terms and theorists

Level Four Contextual and Theoretical Studies This list is intended as a general introduction to Level Four reading. The idea is not to read all the books! Rather, it will be a good idea to explore some of them, and not necessarily the whole book. Your seminar tutor can give you guidance as to which books are closely related to your specialism.

MCS Media and Communication Studies http://www.aber.ac.uk/media/Functions/mcs.html categorised into key topics, gender etc. offers bibliographies and essays Kiss of the Panopticon http://www.geneseo.edu/~bicket/panop/ good for referencing definitions of key terms and theorists, user friendly

Anscombe, I (1981) A Woman’s Touch: Women in Design from 1860 to the Present Day London, Virago Appignanesi, R and Garratt, C (1995) Postmodernism for Beginners London, Icon Books

POPCULTURES.COM http://euphrates.wpunj.edu/faculty/wagnerk/webagogy/zupko.htm Bailey, V (et al) (1995) excellent directories for other sites and journals/articles Essential Research Skills London, Collins ctheory.net http://www.ctheory.net/default.asp Banham, R (1960) features some heavy duty articles on art and culture Theory and Design in the First Machine Age Oxford, Architectural Press theory.org.uk http://www.theory.org.uk Baxter, R (1995) very accessible, mostly covers ‘identity’ the ‘media ‘ and Studying Successfully ‘gender’. It offers articles on things like ‘will teletubbies make Richmond Aldbrough St John you gay’ and the ‘media effects debate’.

Berger, J (1972) Using and referencing the internet Ways of Seeing London, Penguin You must: Bordwell & Thomson, (1993) • Be evaluative. Just because the site looks good may Film Art not mean that the content is reliable or accurate.

McGraw, Hill • Identify the resource and log its location so that you Breward, C (2003) can reference the source in essays.

Fashion Books Oxford, OUP Although the internet is now often the first port of call, Clarke, G (1997) the results from a search can be disappointing. Bear in mind, The Photograph the Library here is a specialist art and design library and it is Oxford, OUP very likely that material relevant to your course will be in the library. There are 50,000 books in Leeds College of Art Library!

Connor (1989) Postmodern Culture There are advantages to books over the internet – physicality, Oxford portability, they are easy on the eyes compared to a ‘v.d.u.’, speed of accessing information / especially visual information Conway, H ed (1987) can be as quick, if not quicker than the internet!

Design History: A Students Handbook London, Allen & Unwin Cummings, N & Lewandowska, M (2000) The Value of Things Basel, Birkhäuser Dant, T (1999) Material Culture in the Social World Buckingham OU

GR APHIC design - Year one TO THREE

page 18

CONTEXTUAL & THEORETICAL STUDIES General Bibliography CONTINUED Dawtrey, L (1996) Investigating Modern Art London, OU/Yale.

Dormer, P (1990) The Meanings of Modern Design London, Thames and Hudson Edwards, S (1999) Art and Its Histories Yale University/OU Forty A (1986) Objects of Desire, Design & Society since 1750 esp, Chapter 3, pp 42-61 London, Thames & Hudson Frascina, F and Harris, J eds (1992) Art in Modern Culture: an anthology of Critical Texts London, Phaidon Freeland, C (2002) But is it Art? An Introduction to Art Theory Oxford, Oxford Paperbacks Gaiger, J and Wood, P (2003) Art of the Twentieth Century Yale University Press/OU Geijer, A (1979) A History of Textile Art Pasold Research. Sotherby Parke Bennet Gibbons, J (2005) Art and Advertising London, I B Tauris Greenhalgh, P (1993) Quotations and Sources on Design and the Decorative Arts Manchester University Press Hall & Evans, (1999) Visual Culture: The Reader London, Sage Hall, S ed (1999) Representation: Cultural Representations and Signifying Practices London, Open University Harrison, C (2001) Modernism London, Tate Gallery Publishing Harrison, C, Wood, P and Gaiger, J (1995) (eds) Art in Theory 1815 – 1900 Oxford, Blackwell Hebdige, D (1997) Subculture, the Meaning of Style London, Methuen

GR APHIC design - Year one TO THREE

Thornton, S (1995) Club Cultures: Music, Media and Subcultural capital Hillier, B (1997) Art Deco Style London, Phaidon Hopkins, D (2000) After Modern Art 1945-2000 Oxford, OUP Hughes, R (1991) The Shock of the New: Art & the Century of Change 2nd edition London, Thames and Hudson Jackson, L (1991) The New Look: Design in the Fifties London, Thames and Hudson Jencks, C and Kropf, K ed (1997) Theories and Manifestos of Contemporary Architecture Chichester, Academy Jobling, P and Crowley, D (1996) Graphic Design: Reproduction and Representation Since 1800 Manchester, MUP Julier, G (2000) The Culture of Design London, Sage Julier, G (2000) Encyclopedia of Design.

Klein, N (2000) No Logo London, Flamingo Lambert, S (1993) Form Follows Function London, U&A Lodder, C (1983) Russian Constructivism New Haven, USA, Yale Marcus, GH (1995) Functionalist Design: An Ongoing History Munich, Prestel-Verlag McRobbie, A (1999) In the Culture Society London, Routledge Naylor, G (1985) The Bauhaus Reassessed St Neots, Herbert Press Nelmes, J (1996) An Introduction to Film Studies London, Routledge

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CONTEXTUAL & THEORETICAL STUDIES General Bibliography CONTINUED Northedge, A (1997) The Arts Good Study Guide London, OU

Strinati, D (2004) (2nd edition) An Introduction to Theories of Popular Culture London, Routledge

Orna, E and Stevens, G (1995) Managing Information for Research London, OUP

Strinati, D (1995) Come on Down: Popular Media Culture in Post War Britain London, Routledge

Preziosi, D ed (1998) The Art of Art History: A Critical Anthology Oxford, OUP

Taylor, B (2005) Art Today London, Lawrence King Publishing

Pollock, G (1981) Old Mistresses: Women, Art and Ideology London, Routledge and Kegan Paul

Walker, JA (1989) Design History and the History of Design London, Pluto Press

Pooke, G and Whitam, G (2003) Teach Yourself Art History London, Hodder Headline

Wells, L (2000) Photography: A Critical Introduction London, Routledge

Pye, D (1978) The Nature and Aesthetics of Design St Neots, Herbert Press

Whitford, F (1978) Bauhaus London, Thames and Hudson

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

Williams, R (1988) Keywords London, Harper Collins

Said, E (1978) Orientalism London, Penguin Sardar, Z and Van Loon, B (1997) Cultural Studies for Beginners/Introducing Cultural Studies Duxford, Icon Books Storey, J (ed) (1998) Cultural Theory and Popular Culture Pearson/Prentice Hall, Harlow Sturken, M and Cartwright, L (2001) Practices of Looking: an Introduction to Visual Culture Oxford, Oxford University Press Sontag, S (1979) On Photography Harmondsworth, Penguin

Woodham, JM (1997) Twentieth Century Design Oxford, Oxford University Press Journals Design History Society Journal Architectural Review Blueprint Fashion Theory Third text Artforum Visual Culture in Britain Baseline CVA (Contemporary Visual Arts) A-N magazine (Artists’ Newsletter) Tate: Arts and Culture Eight: Photojournalism

Sparke, P (2004) 2nd edition An Introduction to Design and Culture in the Twentieth Century London/New York, Routledge

GR APHIC design - Year one TO THREE

page 20

CONTEXTUAL & THEORETICAL STUDIES Glossary of key terms Avant-garde The term has come to describe the most progressive tendencies in the arts, and the kind of art that is both obscure and which seeks not to pander to popular taste. Implicit in the ideology of the avant-garde is the idea of cultural progress. Its validity has been questioned more recently, but in the early 20th C., avantgardism was a main driving force behind modernism.

Canon Term used to describe the selection of ‘great works’. For example the canon of modern art would include work by Picasso, Pollock, Warhol etc.. Recently this approach has been critiqued for revealing amongst other things the Eurocentric nature of art history, let alone the ‘white’, ‘male’ bias.

Capitalism Type of economic system based on private individuals possessing, accumulating and investing capital for profit. It is characterised by free competition and the economic laws of supply and demand, alongside the principle that the ‘worker’ sells his/her labour in return for wages, are fundamental in capitalism.

Communism System of economic and social organisation where all property is ‘owned by everyone’. So called communist countries like China, Cuba and the former Soviet Union (USSR) are socialist societies where property is State owned. In theory such societies anticipate the disappearance of State control.

Culture A term Raymond Williams in Keywords (1976) describes as ‘one of the two or three most complicated words in the English language’. To be ‘cultured’ took on the assumptions of being educated and learned in matters of taste; this elitist position has been challenged by cultural anthropologists. More recently the emphasis has moved away from ‘culture as a set of things, e.g., novels, paintings, films etc., but, rather culture is seen as a set of practices; thus, ‘primarily, culture is concerned with the production and exchange of meanings – the giving and taking of meanings, between the members of a society or group’ (Hall 1997).

Ideology The set of beliefs that a society ‘holds’ as being ‘natural’, ‘normal’ and ‘relevant’. The Marxist use of the term implies the importance of seeking to uncover the way such beliefs are introduced and maintained by society with the goal of maintaining power in the hands of the ruling classes. Thus, beliefs in Capitalist societies do not have to be disseminated through force, but on the level of ideas. In this sense the arts and mass media are critical elements of this process.

Mass media Modern systems of communication and distribution supplied by small groups of cultural producers, but directed towards large numbers of consumers, such as, television, radio, internet, recorded music, print media etc.

GR APHIC design - Year one TO THREE

Modernism Is the term used to describe the cultural expressions of modernity in relation to the experience of modernity. In essence, there was a ‘utopian’ flavour to the modernist ‘project’. In design, it was agreed that designs should not be illusionary or create false impressions. Modernists embraced new technologies.

Also, design initiative had to allow for the mass production of goods – thus, simple forms were preferred over complex ones.

The idea that design was functional was of prime importance, a key idea being “Form Follows Function”. The shift away from ornate decoration was politically inspired as fancy decoration and ornamentation was equated with the bourgeoisie and decadent frippery. Modernist philosophies embraced the idea of change for the better. In the aftermath of World War 1 (The Great War 1914-1918), it was felt that such a tragedy and waste of life could not happen again. The feeling therefore in the 1920’s was one of optimism and that modernism would direct the way towards a progressive society. For the modernist, it was an appealing idea that a design/artwork would be instantly recognisable to an international audience. Part of this internationalist tendency derived from the post WW1 attitude towards the need to bring countries together. There was a belief held amongst modernists that design and art could change the way people think. Underlying the Town Planning Movement and mass housing projects was an idea that such projects would improve the public. Modernism was adopted almost as a religion.

It constituted a set of beliefs, which sat within a context where people felt they were living in a ‘new age’. The term ‘Zeitgeist’ refers to this feeling of “the Spirit of the Age”. Modernist Critics such as Clement Greenberg championed abstract art above figurative work, but by the late 1960s the dogmatism of modernism came to be challenged by post modernism.

The ‘other’ Is that which is excluded from a dominant group or society.

The process by which ‘the other’ or ‘otherness’ is represented has been the focus of much analysis in Cultural Studies: Edward Said has written on the west’s representation of the non-western as other; Foucault has contemplated the otherness of homosexuality and madness; whilst Simone de Beauvoir considered the position of women as the other in patriarchal society. It is an important concept in understanding identity formation, the creation of stereotypes and addressing questions of difference and discrimination.

Postmodernism Term applied to a wide range of cultural analysis and production since the early 1970s. Whilst there are different attitudes to what postmodernism is, it is generally referred to as a significant shift in attitude away from the certainties of a modernism based on progress. The cultural traits usually associated with post-modern cultural production include the acceptance of many styles, the importance of surface and the playful adoption of different styles through parody and pastiche.

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CONTEXTUAL & THEORETICAL STUDIES Glossary of key terms CONTINUED Semiotics Theory derived from the linguist Ferdinand de Saussure’s work, used to analyse the meanings generated from signs and symbols, be they concrete (a photograph) or abstract (spoken word, music). Roland Barthes developed semiotic theory to reveal its capacity to understand the way meanings are constructed and interpreted in society.

Subculture Group or lifestyle that opposes the cultural and symbolic representations of the dominant social group. Dick Hebdidge proposes that subcultures developing in Britain after WWII were in conflict with the mainstream consumer culture and visual culture. Hebdidge also asserts that working class British youth cultures in the post-war period, were a reaction against, or assimilation of Afro-Caribbean style Doing Presentations Why do Presentations?

• Develops skills of research and analysis, like an essay, but your findings can be shared with your group.

• Allows you to talk about images, ideas and issues important skills as designers and visual people. Using the same skills as in a studio crit: analysing, explaining and developing an argument.

• The work undertaken for this brief can be a basis for further research towards the essay.

Interesting Tips on Communication Skills: Aim Your aim is to put your points across to group and tutor in an interesting manner, at the correct level, whilst being clear and succinct.

Interesting You must be engaged with the text (enthusiasm is contagious) find something in that text for you.

Correct Level Don’t make the talk too simple, you know your audience, who will not be specialists, but, it is your role to inform them. They will be supportive as they all have to do a similar presentation.

How to make it clear and succinct is a question of planning and presentation skills.

Verbal communication Is made up of three parts: • Words used • Way you say them • Body language used Words used - take the most time to research and prepare but the effect relies on other two if they are to have any impact. Delivery and body language needs to be complementary and reinforce what you are saying. No conflicting signs. Minimise distractions.

Way you say it - Clear, loud enough, vary tone and give appropriate emphasis.

Most important is correct speed = SLOW DOWN. Nerves have the tendency to make you sound like a rabbit on amphetamines. Don’t throw away your research - let us hear your pearls of wisdom & insight. Pauses are fine, but try and avoid errrms, take time, be aware of pitfalls.

Body Language - Be aware of its importance: non-verbal communication needs to back up the words but not distract.

Posture: comfortable but visible - standing / sitting edge table / chair. Avoid – rocking, pacing, looking at feet.

Smile (not inanely) don’t frown – try and present a mask of confidence.

EYE CONTACT – opens up communication, use for emphasis.

It actually looks quite bad to stare down at one’s notes ancd not acknowledge the audience at all.

Do not obscure the visuals – ask if everyone can see.

Visual Aids Don’t have one handout which gets passed around the group, instead photocopy it onto acetate for the OHP which will let everyone see it at the same time. Better still use Power Point.

Visual aids can be a combination of text and visuals.

TEXT – help to follow the sequence and take in information esp: Names, dates, unfamiliar terms and quotes IMAGES - Should back up a point and aid communication not just look pretty.

Select the appropriate visual aids: Handout / Slides / OHP / Video Clip / Whiteboard / powerpoint/ presentation board / Objects / Performance Check equipment before use and practice - your presentation will take longer when using the visuals.

Consider the advantages / disadvantages of each type of visual aid.

GR APHIC design - Year one TO THREE

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CONTEXTUAL & THEORETICAL STUDIES Doing Presentations CONTINUED The brief asks you to analyse a text, develop an understanding of the issues and the context in which they are raised, then develop this in relation to visual examples. All in 10 minutes!

Do your research and then be selective: decide on essential points, helpful points and decide how best to communicate them – make a clear line of argument to allow the audience to follow your line of thinking using visual support (image and text).

Be systematic and make links clear ‘following this you can see that…’

Plan • Introduction – What you are going to say (Outline and Aims) • Main – Say it (Logical development with clear visual support) • Conclusion – Summarise what you have said (summary sheet and be clear when ended) Plan your main points and visuals. Write in full. Then reduce to points for delivery – consider using CUE CARDS (A5 size cards with your notes on).

Cue Cards • Reduces temptation to just read out (boring) • Forces you to be succinct • Easier to hold • Easier to find your place • NB Include on your cards when the visuals should come e.g. Slide 1 Preparation • You need to Rehearse - Bribe a friend to listen to you the night before (or use a mirror?)

• Practice timing / pronunciation of words / names – it will reduce nerves.

• Prepare and organise the space before you begin.

• Arrive early to check availability of equipment.

• If necessary, re-arrange furniture before you begin.

• Remember, you are in control of the space during the presentation – make sure everyone can see / hear you.

The Presentation • Stay calm – everyone watching you will soon be doing their presentation.

• Remember – once you’ve finished your planning and the lights are down the words you say rely on the way that you say them.

GR APHIC design - Year one TO THREE

Remember: • Be self confident. If you have confidence in yourself, the audience will have confidence in you.

• Don’t apologise for your own lack of ability or for the subject of your talk. It is your presentation and if you are well prepared, all should go well.

• If you haven’t prepared thoroughly, ‘it is too late to have second thoughts at this stage’.

O’HARA, S. (1998) Studying at University & College.

London, Kogan Page. P.164 Essay Writing Here are some basic tips, but read the section Academic Conventions which follows this list of points, if you really want to get your head around doing a good essay.

1. Aim to answer the essay question being asked. Make sure you fully understand the questions and what is being asked; ask your tutor to explain the question if it is foxing you.

2. Do as much research as possible – a well researched essay will get higher marks. The bibliography should be a good 10-15 sources. Divide your notes from your research into separate topics, and using a system of your own, organise them into separate chunks.

3. Plan your essay around clear points using the ‘chunks’ of research that you have found. Thread these together into a clear workable structure This will make the essay easier to write and the writing process will be faster.

4. Make use of the Harvard system (see below) to acknowledge where you are getting your information from. Use Harvard for quoting, but discuss quotes and introduce them effectively and economically. Don’t just plonk quotes in your essay, rather, write things like ‘according to Smith, “subcultures foster group identity” (1982, p3). Marks are lost for not using Harvard properly.

5. Clear, economical writing is best (don’t waffle) a) Always avoid any ambiguity in what you write. b) If your sentence is a long one, is it clear and would it be better to split it into two? c) Is there too much information in one sentence?

Again, chop it into two.

6. ‘Show-off’ that you know what has already been written on your subject, but don’t stray from the question.

7. When you make a specific claim you should provide evidence through quotes or reference to an author, or a description of some sort. It is best not to rely on conjecture (gut feeling, or a hunch). You also need to back up evaluative remarks – so, justify why something is useless, beautiful, pointless etc.

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CONTEXTUAL & THEORETICAL STUDIES Essay Writing CONTINUED 8. Style of writing is important – do the following:a) use the academic texts you have been introduced to already or a text suggested to you by your tutor as a model to follow. b) write a little bit (a paragraph or so) and show one of your tutors. c) See English and Academic support tutors for help.

9. Have an argument and outline this in the introduction.

10. Use images - If you consider visual material then write about it and analyse it in some detail. It is absolutely fine to have visual material – you are studying on a visual based course, so of course, talking about visual material should be paramount – but it has to be relevant. Use tools of analysis to discuss and deconstruct images. And where you talk about specific imagery then, always have a good quality image supplied in the essay itself.

11. Paragraphs – A paragraph should have an overall theme or aspect to an argument / point. Use your paragraphs as building blocks, laying one on top of the other in order to literally ‘build’ an argument or evidence.

12. Length – Try and aim to write a bit more than the set word length and then edit it down, chopping out bits of repetition and overlong quotes. This way the essay will be nice and focused.

13. If you struggle with essays, then seek help from the Academic Support staff (Room G21).

Academic Conventions Academic conventions are standard rules for producing essays reports and dissertations. It is important to become familiar with these conventions, as this approach is required for all Critical Studies work throughout your course.

Academic conventions involve the following: • The use of the Harvard referencing system (see below) • Looking at academic sources and producing well researched material • Reporting on research in an appropriate manner • Using an academic style of writing with a relevant tone • Integrating accurate referencing systems using quotations, references and bibliography.

• Avoiding plagiarism (passing off someone else’s work as your own) • Using accurate sentence construction, grammar and spelling • Employing a clear form of presentation • Use a clear typeface (12 pt.) double spaced, when printing work

GR APHIC design - Year one TO THREE

Style and Tone “An academic text is not a narrative, however instructive.

It is an argument written to be convincing.”

(Blaxter, Hughes, Tight, 1996) The style and tone of your writing is important because it can suggest the extent to which you have used an academic approach, or not. Remember to be consistent in any method you adopt, otherwise the text will appear disjointed. Try to follow rules if you are unsure. You can only break the rules if you are an experienced writer and wish to create a certain effect. The style and tone of your writing may need to reflect certain schools of thought, interpretations and subject areas. Always check that you feel happy with how your writing conveys meaning.

Using the third person This makes your text have an academic tone. The third person omits ‘you’ in the text. It allows for a firm statement to be made.

Consider the following examples: “I tried to get lots of information from questionnaires. I found that 90% of the answers agreed with me on the subject of how to display large scale sculpture, and that an outdoor setting for Henry Moore’s work is best.”

“Research has shown that 90% of people asked on a given date considered that large scale sculpture, in particular, the work of Henry Moore, was best displayed in an outdoor setting.”

Do you feel that one of these gives more emphasis to the academic nature of the subject? Whatever tense you decide to use in your writing, remember to be consistent throughout the text.

Tone Use the correct tone in your writing. Do not allow it to become aggressive or use slang. Consider your audience and their expectations of the text, but do not allow bias to creep in. Do not use racist or sexist language – what you write must not offend.

Examine your own views and opinions before you start writing.

This may give some clue as to the style you shall adopt and give you an opportunity to amend faults. If you want to explore this further, try examining the daily newspapers to see if you can detect biased language.

Rhetorical questions Avoid using rhetorical questions as they often appear insincere and it seems that you are trying to influence the reader in some way. For example, the following statement appears to be rather pretentious, “It is surely to be expected that all designers know how to use a pencil?” – the answer can only be ‘yes’. If you wish to stress a point, use well considered examples to explain your views.

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CONTEXTUAL & THEORETICAL STUDIES Essay Writing CONTINUED

The Harvard System

Further advice It is also necessary for you to read academic writing, because it goes beyond a simple narrative or chronology and extends your critical assessment of a subject.

The Harvard System of referencing has become the most common form of citation, and is used by academic institutions all over the world. The major difference to other systems is that there is no additional list of references (endnotes or list of quotations) which are usually found at the back of an essay or dissertation that the reader has to search to find. Instead, works are cited within the text such as this:

Academic styles of writing may involve specialist language, so be prepared to examine terms you are not used to. Try to use the appropriate language yourself. If you wish to use specialist language, consider what your readers already know. If key words are technical or unfamiliar, make sure you use definitions as you go along.

Prepare a list of terms you may be unsure about and give meanings to them. Memorise the most useful ones and integrate them into your writing, but do not use ‘academic’ terms if you do not understand them.

“Present a coherent argument – give your writing structure, clarity and meaning. If you follow the question carefully it will help you. Even if you are required to present your own negotiated essay project you can still construct meaning by setting out your aims and objectives right from the start.”

– Chambers & Northedge (1997) The Arts Good Study Guide Developing arguments can be done simply – try the following: • Write a paragraph for each main point, but support the main points with examples • Pose a question you know you can answer at some point in the text • Link ideas together to make your discussion flow • Make your arguments clear by continuing them logically and coherently. Repeat an idea if you feel it will reinforce the subject or point you are making • Cite your sources of reference within the text and in a bibliography • Balance the argument throughout, and give an original conclusion Useful Books Bailey V. (et al)(1995) Essential Research Skills, London, Collins Denscombe M.(1998) The Good Research Guide, London, O.U.P Northedge, A. (1997) The Arts Good Study Guide, London,O.U.P

• The view of Eagleton (1994) that postmodern culture parodies art in various forms of commodity production, may be a reference to the revolutionary avant garde.

• The writer only needs to mention the author’s name and the date of publication in the text, providing the reader can locate the full source somewhere in the study, usually at the end, in the full bibliography.

In the case of using direct quotations in the text, page numbers must be noted such as: • “I say it is as though postmodernism effects such a parody, because Jameson is surely right to claim that in reality it is blankly innocent of any such devious satirical impulse” (Eagleton, 1994 p 91).

The bibliography (a list of books at the back of the essay) is arranged alphabetically and includes all the references used. The following is the basic requirement for the Harvard style bibliography: Book: Author,(Date),Title (underlined or Italicised), Place of publication, Publisher’s name. Eg. Dormer, P.,(1990) The Meanings of Modern Design, London, Thames and Hudson Magazine / Journal: Author,(Date),Title of article, Title of publication (underlined or Italicised) Volume,(Issue number), page numbers. Eg. Williams,R.(1996) Representing Architecture, The Journal of Design History, Vol.9,(No.4),pp.285-296. Remember to be consistent. See the following examples for different types of sources: Book with single author: Dormer, P. (1990) The Meaning of Modern Design, London, Thames and Hudson.

Book with more than one author: Smith, P. and Mason, D. (1995) What is Art? London, Blacks.

Edited texts (books): Frascina, F. and Harris, J. (eds)(1992) Art in Modern Culture, London, Open University.

Article in journal: Bennett, D. (1989) Consuming Popular Culture, Design No. 45, Autumn, pp 7-25.

GR APHIC design - Year one TO THREE

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CONTEXTUAL & THEORETICAL STUDIES The Harvard System CONTINUED

Tutors

References ‘in’ other sources: Jones, B. (1998) ‘The Process of Craft’ in: Smith, A. ed.

Concepts of Art and Design, London, Falmer Press.

Contextual and Theoretical Studies Team

Group or organisation authorship: British Museum (1999) Museums and Spectatorship, London, British Museum.

Article from web: Sefton-Green J.,Parker D.,(2000) The Use of Entertainment Software to Tell Stories, London, B.F.I. www.bfi.org.uk/education/edit-play/index.html (Date accessed).

Web Site: For reference in text use web stem only: www.costumegallery.com Web site in bibliography: Give full address and date accessed: www.thecostumegallery.com/Hat_History/1910/ (19/9/03) Films: Jean Cocteau (1931) The Blood of a Poet, Paris The above details show the basic principles of the Harvard System and you will find more sources for advice on complex data referencing under Harvard in the College Library study skills section.

GR APHIC design - Year one TO THREE

Karen Dennis karend@leeds-art.ac.uk Tel. 0113 202 8030 Room 103 Richard Miles richard.miles@leeds-art.ac.uk Tel. 0113 2028295 Room 115 Contextual and Theoretical Studies Administrator Yasmine Coggins yasmine.coggins@leeds-art.ac.uk Tel. 0113 2028295 Room 114 Academic Support Staff For written English support, there are a number of staff based in room G21 who will be happy to see you and organise support sessions.

For help with content of essays as opposed to the writing, please see Frances Bosley Frances Bosley frances.bosley @leeds-art.ac.uk Room G21

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ASSESSMENT

Assessment information Purpose of Assessment The principal aim of assessment is to ensure that graduates possess, and creatively apply, the knowledge, skills and understanding required of a student undertaking a Graphic Design undergraduate degree. Assessment also forms an important function in acquainting students with their personal strengths and weaknesses, and providing feedback of information necessary for self-improvement.

Outcomes from formative assessment are recorded on tutorial forms and/or given orally to students. Summative assessment is given at the end of significant assignments worth 10 credits or more supported by written feedback referenced to the learning outcomes and grading criteria with advice on how to improve performance and/or commending attainment. Feedback for Level Six Major Project and Dissertation is provided orally on request.

Forms of Assessment Assessment within the Graphic Design course takes place in a variety of ways. The most common method for practical work is presentation of projects, assignments and portfolios; these may be supported by technical files, sketchbooks, and critical journals. For theoretical study written assignments, reports, essays, seminar presentation and, at Level Six, a dissertation comprises the assessable work. Additionally Graphic Design students also evidence their theoretical understanding through their practical work. Formative assessment consists of guidance given to students during the course of the brief, through tutorials, crits and classes and is seen as a crucial teaching and learning strategy. This strategy is introduced at an early stage in Level Four and is used throughout. Assessment methods are explicitly stated in module descriptors. Formal assessments will take one of three forms:

In addition to these formal points of assessment, there will be a continual process of ongoing informal assessment, feedback and support in the form of group crits, individual tutorials and seminars as well as a developing understanding of self evaluation, peer assessment and critical reflection.

Although less formal these points of contact are key aspects of your design education and will be documented through your personal development file. The aim of the overall assessment process is to provide a supportive educational framework that helps to constructively monitor your progress, identify strengths and address areas for improvement through individual action planning and evaluation. As the course progresses the assessment process aims to develop a more independent awareness of your development and performance.

• Portfolio Submission Practical work (or essays/critical diary in the case of Contextual and Theoretical Studies modules) supported by theoretical and practical research, evaluations and project plans (where appropriate) are submitted on or before a given deadline. Submissions are assessed graded and returned with written feedback within a given time frame.

• Assessment Tutorial You will be timetabled to attend a formal individual tutorial session with the module leader (and where possible/ necessary one other member of the course team) during which you will present your work for assessment.

Assessment tutorials allow for a two-way discussion of issues relating to your work, development and future progress on the course. In addition you will receive written feedback supporting your assessment results.

• Formal Presentation Contextual and Theoretical Studies and Personal/ Professional Development modules (as well as other modules throughout the programme) use formal presentations as a key method of assessing your knowledge understanding and ability to communicate your ideas verbally to a group of your peers. The assessment of presentations also requires the submission of supporting research and development material.

More specific details regarding content, duration etc. of presentations as well as their assessment weighting will be given during the relevant module briefings.

GR APHIC design - Year one TO THREE

Assessment Weightings The module descriptor gives details of the percentage weighting of each aspect of evidence required for assessment; for example 60% for portfolio of work, 20% for an evaluative report and 20% for your research sketchbooks/notebooks.

Management of Assessment Students shall be given at the beginning of the course, a copy of the Regulations for Undergraduate Provision, and at the beginning of each level of the course, details of the assessment for that level and the requirements to progress or achieve an award.

The Course Team shall ensure that the assessments are sequenced in a fair and satisfactory manner.

Students shall be informed of their progress throughout the course and have the opportunity for tutorial guidance.

Students who fail the course or any of its components will be given the opportunity to have tutorial guidance on the options available to them.

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ASSESSMENT

Assessment Regulations Students with Proven Disability Students, by reason of disability proven by acceptable evidence, may be assessed by methods other than those approved for the course. Such alternative methods shall have the approval of the Dean of Faculty, and should be reported to the Board of Examiners convened to discuss any matters concerning attainment and progression.

Attendance and Late Submission of Work/Poor Performance If students, by reason of absence, failure to submit work or poor performance, fail course modules, and it is established to the satisfaction of the Board of Examiners that this was due to proven illness or other circumstances found valid on production of an Mitigating Circumstances Form, then the Board shall use its discretion to ensure that the students are not disadvantaged or advantaged as a result.

Students must attend all timetabled classes. However, some students may qualify for authorised absence in exceptional circumstance such as certificated illness. In these circumstances students must have no less than 50% actual attendance at all timetabled classes or they will be classified as not having made a ‘serious attempt’ at the module. Students who fail to make a ‘serious attempt’ will not have their work assessed and resubmission will not normally be permitted.

Work submitted after a set deadline loses 5 marks per day, including weekends, unless the student has informed the tutor in advance of illness or personal problems. In these circumstances, extensions will only be given by using the standard Mitigating Circumstances Form, signed by student and Course Leader. If a student is ill and cannot inform the tutor in advance, a doctor’s note is required. If a penalty for lateness brings an otherwise passable project to below 40, the work should be given ‘automatic resubmission’, and a grade of 40. Electronic evidence of date completed is not acceptable. Submission includes the process of handing in the work, as well as its completion.

Cheating and Plagiarism in Examinations and Assessments Any work submitted for assessment/examination must be the student’s own work and any passages quoted must be clearly marked and properly attributed to their authors. Failure to do so may be regarded as plagiarism and this, or copying from another student, would be treated as equivalent to cheating in a written examination. Obviously much of what students write will be inspired by what has been read, but students must not copy or paraphrase whole sentences or paragraphs of someone else’s work without proper acknowledgement.

PLAGIARISM: is literally theft and is a serious form of cheating.

It is the act of deliberately presenting as one’s own the ideas, discoveries or judgements of another person. To copy extracts without full acknowledgement from someone else’s work and to thereby convey the impression that they are one’s own is plagiarism. So is the paraphrasing- restating in one’s own words - of someone else’s ideas without full acknowledgement. Work GR APHIC design - Year one TO THREE

submitted by students in the form of essays, reports, critiques portfolios, recordings and any other form of assessed work must be their own work and any passages quoted must be clearly marked as quotations and properly attributed to their authors.

See Regulations for Undergraduate Provision (including Plagiarism Policy and Procedures) for further details.

A signing in system for all assessable work will be arranged by the tutor, e.g. with the Course Administrator. The student will sign against a standard Coursework Submission Form (CSF), adding the date and time of submission, in the presence of a tutor, course administrator or the College Examinations Officer.

This standard form includes a declaration of academic integrity, which students will sign against, in order to reinforce the seriousness of plagiarism.

MITIGATING CIRCUMSTANCES Mitigating Circumstances The following procedure has been designed to enable a student to establish that failure to attend an examination, and/or failure to submit work, or poor performance was due to proven illness or other cause found valid on production of acceptable evidence.

This procedure is to be used where such circumstances affect end of module assessments and examinations. Where circumstances affect internal assessments relating to modules, then tutors will arrange for a new submission date to be set upon production of satisfactory medical or other substantive evidence.

Application for the Consideration of Mitigating Circumstances It is the responsibility of the student to notify the Course Leader of any mitigating circumstances that may have affected their performance in a module. Students may obtain application forms from the Student Advice facility or their Course Leader.

Appropriate medical certificates or other documentary evidence must be provided. The Mitigating Circumstances Sub Committee will consider the mitigating circumstances and make recommendations on behalf of the Board of Examiners and the Dean of Faculty will ensure that all applications for the consideration of mitigating circumstances are presented to the Board of Examiners. The Board of Examiners will consider the Mitigating Circumstances Sub-Committee’s recommendations and if it can be formally established that a student’s performance has been unduly influenced by illness, unavoidable absence, or any other verifiable circumstances, then the Board of Examiners may exercise discretion in a manner appropriate to the case.

The procedure, in providing a full opportunity for students to Mitigating Circumstances, means that an appeal on the grounds of Mitigating Circumstances after the decision of the Board of Examiners will not normally be considered unless the applicant can show good cause why the circumstances were not made known beforehand. See Regulations for Undergraduate Provision (including Mitigating Circumstances Policy and Procedures) for further details. page 28

ASSESSMENT

Marking Scheme All assessed work will be marked to the following criteria and conventions: The scale of marks that may be used is from 0-100 Class

Mark Range

Grade

70-100

1

60-69

2.1

Very Good

50-59

2.2

Good

40-49

3

0-39

Fail

Excellent

Satisfactory Unsatisfactory

Assessment Criteria In assessing your work, your tutors will consider how well you have achieved the learning outcomes on the brief. In doing so they will use the following criteria as a guide. In relation to your programme of study, the criteria on the grid are shown at the end of this section:

Innovation The exercise of creative skills, imagination, vision, and – at the highest levels of achievement – innovation, in the generation and development of ideas, and the production of material outcomes.

Technical Competence The employment of materials, media, techniques, methods, technologies and tools associated with the discipline with skill, whilst observing good working practices.

Professionalism The ability: • To study independently, set goals, manage your own workloads and meet deadlines, to anticipate and accommodate change, and to work within contexts of ambiguity, uncertainty, and unfamiliarity.

• To apply resourcefulness and entrepreneurial skills to support your own practice, and/or the practice of others.

Problem Definition The ability: • To make decisions based on a self-defined problem in relation to own art practice; • To employ both convergent and divergent thinking, in the process of defining the content of own art practice.

Research The ability: • To source, navigate, select, retrieve, evaluate, manipulate and manage information from a variety of sources; • To select, test and make appropriate use of materials, processes and environments, in preparation for creating material outcomes.

Critical Awareness The ability: • To analyse information and experiences, formulate independent judgements, and to articulate reasoned arguments, through reflection, review and evaluation; • To formulate reasoned responses to the critical judgements of others.

Resolution The ability to resolve the relationship between the content of own artwork and the visual languages used to develop its form.

The ability to investigate, analyse, interpret and develop appropriate forms in response to ideas and praxis.

GR APHIC design - Year one TO THREE

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ASSESSMENT

Progression and awards Level Four: Certificate of Higher Education (Cert HE) At the end of Level Four, candidates will be required to have accumulated all 120 Level Four credits in order to be awarded a Cert HE or to proceed to Level Five. A candidate who has accumulated fewer than 120 credits, but no fewer than 80 credits, may be allowed to resubmit or resit work in August, or during or at the end of the subsequent session as an internal or external candidate at the Board of Examiners discretion.

Only one year during the total period of study (two years in the case of a part time student) may be taken as an external candidate to achieve the required credit tariff in order to proceed to the next level or to achieve the award.

Level Five: Diploma of Higher Education (Dip HE) At the end of Level Five, candidates will be required to have accumulated all 120 credits during Level Five in order to be awarded a Dip HE or to proceed to Level Six. Up to 20 credits may be taken from the elective programme at Level Four if necessary, subject to individual course requirements, the remaining credits at Level Five.

Level Six: Honours At the end of Level Six, candidates will be required to have accumulated all 120 Level Six credits to be awarded a BA (Hons). A candidate who has accumulated fewer than 120 credits, but no fewer than 80 credits, may be allowed to resubmit or resit work in August, or during or at the end of the subsequent session as an internal or external candidate at the Board of Examiners discretion. Only one year during the total period of study (two years in the case of a part time student) may be taken as an external candidate to achieve the required credit tariff in order to proceed to the next level or to achieve the award.

To be eligible for BA (Hons) a student must have accumulated no fewer than 360 credits and have a minimum average of 40%.

The final classification for the award will be based on averages of Level Six and Level Five at a ratio of 2:1 i.e. Level 6 will represent as 66.66% of the Level Six average and Level Five will represent 33.33% of the Level Five average.

Condonement Notwithstanding the regulations set out with regards to Mitigating Circumstances, the Board of Examiners may, having due regard to the standard of the award, the programme objectives and the programme assessment regulations, exceptionally and at its discretion, allow a student’s overall performance to compensate for partial failure in the assessment of the award.

GR APHIC design - Year one TO THREE

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Learning facilities & resources The college library

Computer resources

Opening hours for the Vernon Street and Blenheim Walk sites

Opening Hours

Monday

8.30am – 8.00pm

Tuesday

8.30am – 8.00pm

Wednesday

8.30am – 8.00pm

Thursday

8.30am – 8.00pm

Friday

8.30am – 8.00pm

Saturday

10.00am – 4.00pm

Please note, Friday & Saturday opening times are applicable to the Blenheim Walk Site only.

The College Library has two branches, one at Blenheim Walk and the other at Vernon Street. Together, the branches hold in excess of 50,000 books and subscribe to some 170 journals/ magazines which cover the whole range of subjects taught in the College. Particular emphasis is placed on keeping collections as current and relevant as possible both to the syllabus and to professional practice in the current career market, whilst maintaining an archive of older material for research. These collections are supplemented by on-line bibliographies and internet access and a small but growing number of subscriptions to e-resources. In addition there are substantial collections of video and DVD recordings and slides.

The Library has close links with other art libraries in Leeds and can arrange for inter-library loans from the British Library and further afield if you are unable to locate resources you require in the city.

You will receive an induction into the Library services soon after you arrive. At all times trained and friendly staff are more than happy to help with your enquiries.

There is a well-stocked college shop in both branches of the Library. This sells a range of art materials at discounted prices, with a further discount on production of your College student card.

The main site for OU BA (Hons) Graphic Design students is at Blenheim Walk, the majority of relevant books and magazines are shelved here. In this branch you will also find a pool of computers as well as black and white and colour photocopiers.

There is quiet study area with carrels.

Blenheim Walk Suite

Monday - Thursday

8.30am – 8.00pm

Friday

8.30am – 4.30pm

Saturday

10.00am – 4.00pm Vernon Street Suite

Monday - Thursday

8.30am – 6.30pm

Friday

8.30am – 4.30pm

Blenheim Walk Suite The Blenheim Walk computer resource is made up of three Apple Mac rooms and one Windows PC room. A wide range of industry standard software is available allowing the creation of 2D graphics, illustrations, video, animations and web sites.

A high-end digital video resource is also available along with a dedicated digital print resource offering printing up to A0 in size at commercial proof quality on a variety of media.

The Vernon Street Suite The Vernon Street Site suite is an Apple Mac resource. A wide range of industry standard software is available allowing the creation of 2D graphics, illustrations, video, animations and web sites. High quality printing up to A2 in size is also available. photography & video resources Opening Hours

Photography Store

Monday - Friday

8.45am – 12.30pm

Closed

12.30pm – 1.00pm 2.55pm – 4.15pm

The Vernon Street site also houses the College’s photography and video resources. There are two darkrooms for black and white printing from 35mm, medium and large formats, an equipment store for the loan of photographic equipment, including digital and film cameras and for the purchase of photographicmaterials, plus the resource also has a dedicated photography studio which, along with tungsten and flash lighting equipment, can be booked for practical work subject to studio induction.

The video suite houses two computer based animation systems and four three-machine video editing systems for SVHS video, as well as a range of audio visual equipment available for loan.

You are most likely to experience these facilities through

GR APHIC design - Year one TO THREE

page 34

Learning facilities & resources use of the internet

Workshops & the Print room

The College’s Internet access is provided through JANET (the Joint Academic Network) and as such is regulated by UKERNA.

Workshops Opening hours for ‘drop-in’ can be found on notice boards in the workshops.

UKERNA have the following rules as to the use of the Internet.

JANET may not be used for any of the following: • The creation or transmission (other than for properly supervised and lawful research purposes) of any offensive, obscene or indecent images, data or other material, or any data capable of being resolved into obscene or indecent images or material; • The creation or transmission of materials which is designed or likely to cause annoyance, inconvenience or needless anxiety; • The creation or transmission of defamatory material; • The transmission of material so that this infringes the copyright of another person; • The transmission of unsolicited commercial or advertising material either to other User Organisations, or to organisations connected to other networks • Deliberate unauthorised access to facilities or services accessible via JANET; Deliberate activities with any of the following characteristics: • Wasting staff effort or networked resources, including time on end systems accessible via JANET and the effort of staff involved in the support of those systems; • Corrupting or destroying other users’ data; • Violating the privacy of other users; • Disrupting the work of other users; • Using JANET in a way that denies service to other users (for example, deliberate or recklessoverloading of access links).

• Other misuses of JANET or networked resources, such as the introduction of ‘viruses’. Where JANET is being used to access another network, any abuse of the ‘acceptable use policy’ of that network will be regarded as unacceptable use of JANET. We regard any infringement of these rules as very serious and it will lead to disciplinary action being taken.

The print room The print room is used by many of the courses in the College; as a result drop-in time is limited at certain times of the year.

To ensure you have time to produce your work, please come and see the print room staff as soon as you think you need to use the workshop. Processes such as etching and screenprinting involve a lot of preparation before printing. Do not leave things until the last minute.

You are given Health and Safety Induction into all the workshops you will use at the start of your first session in that particular workshop. No one can use the workshop unless they have undertaken the appropriate Induction. Besides formal taught sessions you will be able to use the facilities for ‘drop-in’. In that case a tutor technician or workshop manager will be there to assist you.

Sometimes there is no room for ‘drop-in’, so it is advisable to come at the start of a drop-in session and to check on the timetable in the workshop when the ‘drop-in’ times are available.

Computer suites can become crowded. The best times to come are between 4.00 – 6.00pm or in the evening if the suite is open.

Departmental Resources Equipment and your work You may wish to access College equipment in the development and presentation of your work on the course.

Within the BA (Hons) Graphic Design department there are items of equipment for you to use in the development of your work: Apple Mac Powerbook PC laptop Data Projector Digital Camera Video Camera TV/Video DVD Player Wacom Tablet There is great demand for this kit and it is solely for use within the department by staff and students and not to be taken off the premises. This kit must be booked well in advance. When there are multiple demands additional kit will be sourced from IT.

GR APHIC design - Year one TO THREE

page 35

Learning facilities & resources Departmental Resources CONTINUED Contact Details for Workshops and Resources Students are reminded that to use the workshops they should have undertaken the necessary health and safety induction.

Wood Lisa Kenny 0113 202 8057/8064 lisa.kenny@leeds-art.ac.uk Metal Kevin Dawson 0113 202 8059 kevin.dawson@leeds-art.ac.uk Printroom Mick Welbourn 0113 202 8084 mick.welbourn@leeds-art.ac.uk Blenheim Computer Resource Michael Flower 0113 202 8124/8126 michael.flower@leeds-art.ac.uk Vernon Computer Resource (including digital video) Gary Morfitt 0113 202 8123 gary.morfitt@leeds-art.ac.uk Photography Paul Bennett-Todd 0113 202 8133 paul.bennet-todd@leeds-art.ac.uk Vernon Street Library Chris Graham 0113 202 8095 chris.graham@leeds-art.ac.uk Library 0113 202 8169

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Medical & Health Matters Health & personal problems You should register with a doctor as soon as you arrive in Leeds, you can receive details on this from the Student Advice Team. Remember that you will not normally be given an extension for submission of work (i.e. more time to hand in work without penalty) unless you produce a medical certificate certifying you were ill or unfit and that this prevented you from completing work.

This has to be sent in to your Course Leader before the deadline date.

You may at some point start worrying over some medical or health problem and prefer to contact someone confidentially.

Here are the names and addresses and telephone numbers of people you could talk to: Leeds General Infirmary (LGI) Great George Street Leeds LS1 3EX Telephone 0113 243 2799 The Dental Institute Clarendon Way Leeds LS2 9LU Telephone 0113 343 6199

Services for Addiction to Drugs for people with alcohol or drug problems: Base 10 (Turning Point) 1 Park Square East Leeds LS1 2NE Telephone 0113 243 3552 Under 21s only Leeds Addiction Unit 19 Springfield Mount Leeds LS2 9NG Telephone 0113 295 1300

Police Enquiries and non-emergencies Telephone 0845 6060606

Clinics run from either 8.45am or 1.30pm every weekday.

Students must call first to have their dental needs assessed.

Leeds Central Citizens Advice Bureau Westminster Buildings New York Street Leeds LS2 7DT Open Monday, Tuesday, Wednesday & Friday 9.30am – 2.00pm Telephone Advice service on 0870 120 2450 10am - 1.00pm Counselling Crisis Centre 3 Spring Road Headingley Leeds LS6 1AD Telephone 0113 275 5898 Family Planning Advice Is available from the above mentioned Health Centres or alternatively you can find a centre in your local area from the list available from the Student Advice Team.

STD testing and treatment Leeds GUM Clinic Telephone 0113 392 6725 All clinics by appointment only.

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budgeting & finances

Fees & Loans

part time work

The maximum fees you will have to pay is £3,290 per year.

Many of you will obtain part-time jobs to help pay for all your expenses. Please remember when considering what you should try for, that being over-tired is one of the chief reasons that students are not able to cope with this course. Try to limit your work to one or two evenings a week or weekends. If possible choose evenings where you have not got a 9.00 or 9.30am start the next day. If things do go wrong and you are in financial difficulties, the Student Advice Team can give you the support you need to work out how to resolve them. The best source of confidential guidance or general information is the Student Advice Team.

You should have already applied to your Local Education Authority for your Student Loan. Please see the Student Advice Team immediately if you have not done this. Outside London, there is a hardship grant which is means tested. Students who encounter difficulties with their first Student Loan instalment should contact the Student Advice Team. bursary and access fund College Higher Education Award One in four of our students will receive a generous nonrepayable Award up to £1,500 a year to help with the cost of attending the College.

If you are a full-time UK student and your annual family income is £26,900 or less, you may receive our College Higher Education Award, worth between £500 and £1,500 provided your attendance and progression on your course are satisfactory.

Since this is a grant and not a loan, it will not have to be repaid.

Access to Learning Fund The purpose of the Fund is to provide financial help to students whose completion of education might be affected by financial difficulties. The Access Fund can be used for course related costs, childcare costs and travelling expenses. The amount of help given will depend on the demand for the fund and each application is looked at on its own merit. financial guidance It is important that you contact the Student Advice Team for guidance regarding your finances. Each year we assist many students in terms of how to budget for living expenses and other related matters such as how to deal with your bank regarding overdrafts.

You should estimate to spend £150 per week on accommodation, travel, food and entertainment.

expenses In any case you will already have been told about expenses during the first year, including any possible visits. We appreciate that you may already have had to pay towards fees, and living expenses, so we try to keep costs as low as possible.

We try to provide a locker for you so that you can keep your equipment safe whilst at College. Please do not leave any of your belongings lying around or unattended. We try to reduce the risk of theft by the Membership Access system, but nevertheless some students do become victims of theft and we do not compensate financially for any loss, theft or damage.

Expenses are variable according to student’s requirements.

This is because you may have totally different ideas about what materials you wish to use from others in your group, and therefore we cannot estimate it beforehand.

Materials We do try to make materials as cheap as possible. There are two shops selling materials at very competitive rates, one in the Library at the Vernon Street site and the other in the Blenheim Walk Building on the First Floor. Some materials are provided free.

Books and magazines The College Library stocks all books on your essential and recommended reading lists; because there is often competition for these, some of the most popular are ‘Reference only’ and there are limits on the length of time you can borrow books.

Magazines cannot be borrowed.

We are very serious about lending times and there are fines for overdue books because we want to share out the resources as equally as possible. The normal fine is 10p a day regardless of length of time. Please help us by handing back books on time or contacting the Library/Learning Resource Centre to renew them. This is possible providing no one else wants them. More information on the Library facilities will be given to you in the Induction period. An Open University Regulation, to which we abide, is that no one can be awarded a degree if they are in debt to the College.

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budgeting & finances

expenses continued

Accommodation

Visits As you are over 18 years we do not require parental consent for any visit. We do ask you to provide a contact name, in case there is some unforeseen occurrence.

You may already have found your accommodation and have discovered all about signing the contract, putting down a deposit and taking out insurance. If you have any problems over accommodation come to see someone in the Student Advice Team. Never sign anything before reading it through and if it looks complicated, ask for advice first. Take as many valuable possessions away during vacation times as possible.

Leeds facilities Leeds is one of the best shopping centres in the North of England ranging from one of the most extensive good markets in the North, Kirkgate Market, to Harvey Nichols (practically next door to one another!)

Places to eat and drink in Leeds The popular student pubs are easily found. Pubs around the University and Woodhouse Lane area, include the Drydock, the Faversham, and Strawberry Fields are all geared up for the local students with regular food and drink offers. LUU boast one of the best student venues in the country, with both LUU and the Met Bar at the Leeds Metropolitan University Union holding regular dance, alternative music nights and gigs from big name bands such as Babyshambles, The Sunshine Underground and The Automatic. In the heart of Headingley there is the Original Oak, the Skyrack and the Three Horseshoes. Headingley can be quite trendy and busy in the term time, but you should find quieter pubs the further you go up Otley Road. You will often see students in fancy dress doing the Otley Run for charity, which boasts a pub crawl of over ten pubs down the road in to the city centre. Hyde Park has a number of student social clubs, bars and cafes, The Royal Park pub is notorious for its £1 a pint and quiz nights. Down near Call Lane and the Corn Exchange the bar revolution has really taken off, Jake’s Bar, Oporto, the Elbow Rooms and many more bars and clubs, are open till late every night, they are the perfect places to treat yourself to great food and drink once in a while.

Some problems are caused because if you are sharing a house, neither you nor the people you are sharing with, have had to share before.

Therefore, you need to work out how you are going to sort out arrangements for any activities you will have to do in common e.g. cleaning of communal areas.

There is a wide range of pubs and clubs across the city, if you like old style pubs, look out for the Angel and Whitelocks. If you are into cocktails you have Mojo’s and Santiago’s. Dance Music, there is Gatecrasher, The Mint Club and the Atrium. For Jazz and some Soul try the Hifi Club. As you can see there is loads to do in Leeds, if you want any more information see the Students’ Union to find out more.

It is also worth taking the various flyers and leaflets you will be offered when you are around the University in the first few weeks of term, and keep an eye on the advertisement pillars.

Travelling at night The bus services are regular and safe, and go right through some of the student residential areas. Taxis can work out cheap if you are in a group, but make sure you phone a licensed company or use a black cab if you are out in the city at night.

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course & college rules

behaviour & respect for others

web safety

Studios

Internet Safety The internet is a great tool for homework, research and chatting with friends. But with all of its advantages, it has disadvantages which can create dangers that you must be aware of:

• Food and drinks should not be brought into the studio.

• Mobile phones should be switched off.

• No headphones or radios (these can be disruptive to other students and staff). Respect your own and others’ work at all times.

• Each student will be provided with a drawer in which to store work.

• Make every effort to ensure that your work is kept in good condition and stored in an orderly fashion.

• Your work is your responsibility!

• Please keep every piece of work you produce, even if you feel it is not up to your particular standard.

You should take particular notice of any information on what happens if you lose or break equipment, or fail to hand it back on time. We have to make these regulations to ensure everyone who uses the resources has the benefit of what is available.

Graduation Students, who are in non-trivial debt to the College, will not be permitted to graduate or receive any external qualification.

Course work Work executed on College premises as part of your course is the property and copyright of the College. Generally the College will not keep work permanently, but you may be expected to allow work to be exhibited. health & safety All members of the College have a responsibility for their own safety and that of others. You must not intentionally or recklessly interfere with anything provided in the interest of health, safety and welfare, such as damaging fire equipment. You must observe the rules and regulations for safe practice in workshops and studios and must take notice of all signs and instructions provided for health and safety reasons. If you use the Internet on College premises, you must abide by the rules regarding its use given to you at Induction and posted in Computer and Library resource centres.

GR APHIC design - Year one TO THREE

Personal information should never be given out on the internet.

Always use a nickname and never give phone numbers or post photos. Don’t even say if you are male or female. Remember, not everyone in the chatroom is a similar age as you.

Although you may think of them as friends, you must never accept everything a person says online at face value.

You should never meet up with someone you met online.

Get the inside information on how to stay safe whilst enjoying the internet. www.thinkuknow.co.uk www.chatdanger.com How can you tell if you are using a secure site?

There is a padlock icon in the bottom right hand corner of the page which means that the site is secure to send credit card details.

Your web browser may tell you if you are entering a secure site.

The letter “s” may appear after the “http” in the site address.

Cyberbullying and Text Bullying Websites and screen names allow anonymity if they want it and bullying can be difficult to trace. If this happens to you, you should tell someone you trust immediately.

Never respond to an internet bully in a chat room, and never respond to abusive text messages.

If something worries or scares you in a chatroom this can be reported to the chatroom provider. Document everything by dates, times received and save the emails if you are being bullied or harassed. This can be reported to the police.

In the same way as you would be careful giving out your mobile number, be equally careful with your email.

Cyberbullying and text bullying are both acts of misconduct and are subject to College disciplinary procedures.

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course & college rules

fire evacuation procedure On seeing a fire If the fire is easily extinguishable, you should put it out. If not, you should break the nearest glass to activate the alarm immediately. Report the location and seriousness of the fire to Reception/Library area.

Exit the building by the nearest exit and proceed to the assembly point. At Blenheim Walk Building, this is the bottom of the car park. At the other buildings it is the Leeds City Museum steps.

On hearing the alarm, exit the building by the nearest and safest exit, and go to the assembly point. smoking, drugs, property & security Smoking Smoking is not permitted on College premises.

Drugs You must not bring into College or have in your possession any illegal drug, alcohol or any illegal substances.

Property and security You will be held responsible for any damage done to College property or equipment because of irresponsible or careless action on your part. This includes the writing or drawing of graffiti, or the defacement of library books.

You are personally responsible for the security of your property and should do everything reasonable to ensure its safety.

Never leave valuables of any sort in studios, workshops, teaching areas or cars. The College accepts no liability for loss, theft or damage to student property. You are not allowed to use Official College stationery or telephones.

We try hard to make the course enjoyable and worthwhile.

The best people to judge are yourselves. We therefore, welcome your suggestions for improvements or changes.

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EQUIPMENT Signing Out Sheet

Department Name Course / Year Date of Issue Date to be Returned Issued by Items

Students Signature Staff Signature Returned To Date

The above named student is responsible for the items on loan and consequently any loss or damage caused due to negligence of their part.

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