History of Design

Code:

HD102

Acronym:

HD

Keywords
Classification	Keyword
OFICIAL	Art Sciences

Instance: 2015/2016 - 2S

Active?	Yes
Responsible unit:	Ciências da Arte e do Design
Course/CS Responsible:	Communication Design

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
DC	56	Licenciatura em Design de Comunicação	2	-	3	30	81

Teaching language

Portuguese

Objectives

Objectives: Students will achieve an operating and critical knowledge of the history of graphic design.

Learning outcomes and competences

Outcomes: It is expected that the student fluently knows the trends and the history of design, as well as their methodologies, being able to apply this knowledge in a dynamic way as a designer, as a researcher and as an editor or commissioner.

Competences: to write and to critically argue about the history of graphic design.

Working method

Presencial

Pre-requirements (prior knowledge) and co-requirements (common knowledge)

n/a

Program

1. The story in the practice of contemporary design


Critical introduction to the different functions that history plays in graphic design: legitimacy, claim and administration of an estate and an area of influence. History of its relationship with the practice of design, with an emphasis on the latter as multiple, including various specialties, identities, roles, sometimes mutually exclusive. One purpose of this course unit will be to map the interaction of these elements over time.

Justification of time limits chosen for the subject taught (from 1850 to the present): it will be argued that the design as an identifiable discipline began in the mid-nineteenth century during the Industrial Revolution. For discipline, we will use the definition of Foucault, a field defined by a discourse that includes practices, institutions, an estate, etc. We will assume that although there is previous practice in this period are usually claimed as part of the history of design (from basic compositional strategies used in rock art to Typography), these are acquisitions within a discipline that only It began to set in the nineteenth century.

Presentation of the etymology and different connotations of the word "design".


2. The beginning of the design. The industrial revolution. Design and policy. Arts & Crafts. 1850-1900

We will trace the beginning of the design as a discipline commenting on the relationship between technical advances, social and economic changes, the appearance of new formats and media. It will be argued that design was born from a compromise between the need for an aesthetic rationalization of industrial production and the urgency to solve or at least minimize the consequences of the industrial revolution. We will show the economic, technical and social during the period studied. We will trace the evolution of the Arts & Crafts movement, its history and its consequences.


3. Art Nouveau Private Press, Art Deco 1900-1920

Art Nouveau, the poster, Advertising during the Great War. Art Deco. Initiatives to encourage design esearch and education. The Private Press Movement and its links to the printing industry. The systematization of corporate identity. Public Opinion and Consensus Engineering (New Methods of Persuasion).


3. Vanguards. Futurism. Given. 1900-1920

Design as agent of social change and break with tradition. Functionalism, geometric formalism and the machine aesthetics. The link between avant-garde and the commercial and pedagogical application of his teachings.


4. Modernism: Design as social engineering and policy. Bauhaus. WPA. Ulm and Swiss. 1920 - 1950


Design at the service of social and political causes. The institutionalization of design (professional and educational). Graphics systems of public information.


5. Design and mass culture: 1920 to 1974


Graphic design and consumer culture. Modernism as an object of consumption. Engineering consumption while producing laws. The birth of the brand as a commodity. New formats of consumption. The magazine, film titles. Design and the Cold War.


6. Design and Counterculture: 1960-2015

Design as part of a culture of resistance to the dominant values. The reuse of experimental avant-garde formats IN new political and social intervention (surrealists, lettristes, situationists, punk, adbusting). Design against consumption. Design and ecology.

7. Postmodernism in Graphic Design 1974-2000

During late capitalism, design almost completely abandons its social and political ideals, reusing the tools and concepts of modernism in business and commercial contexts. Modernism is relaunched as a historical style that can be used with irony or nostalgia. Consumer society gives way slowly to a neoliberal society where entrepreneurship consumption is preferable, and where graphic design is losing its priority connection to advertising to concentrate on the production of public enterprise identities.


8. Design as a service: 1990-2015


With the advent of the personal computer and later the internet, graphic design will undergo a dramatic change: an aesthetic and social management of industrial production turns abruptly into a clerical activity, producing and managing identities and internal and external graphic communication to entities ranging from the individual to the country. There are new formats, technologies and identities for design. The old ways of practicing the profession and the designer's career are restaged as institutionalized forms of precariousness and entrepreneurship.

Mandatory literature

Drucker, Johanna McVarish, Emily; Graphic Design History : A Critical Guide, Prentice Hall, 2008. ISBN: 9780132410755
Eskilson, Stephen; Graphic Design : A New History, Yale University Press, 2012. ISBN: 9780300172607
Flusser Vilém; The^shape of things. ISBN: 1-86189-055-9
Loos Adolf; Ornamento e crime. ISBN: 972-795-101-5 oferta
Pevsner Nikolaus; Pioneiros do desenho moderno
Marx Karl; O^Capital
Bierut Michael 340; Looking closer 3. ISBN: 1-58115-022-9
Armstrong, Helen; Graphic Design Theory : Readings from the Field, Princeton Architectural Press, 2009. ISBN: 9781568987729
Benjamin Walter; Sobre arte, técnica, linguagem e política. ISBN: 972-708-1770
Tschichold Jan; The^new typography. ISBN: 0-520-07146-8

Teaching methods and learning activities

Lectures and discussion on each topic.

keywords

Humanities > Arts > Visual arts > Graphic arts
Humanities > History > Art History

Evaluation Type

Evaluation with final exam

Assessment Components

Designation	Weight (%)
Exame	100,00
Total:	100,00

Eligibility for exams

Positive weighted average of the works and the final exam.

Calculation formula of final grade

Positive weighted average of the works (60%) and the final exam (40%).

Examinations or Special Assignments

n/a

Internship work/project

n/a

Special assessment (TE, DA, ...)

n/a

Classification improvement

Exam.

Observations

Due to the high number of students and to the teaching class (portuguese) mobility students will not be accepted. Due to the theoretical nature of the unit, as well as the fact that 60% of the evaluation is dependent on group work to be tutored during class, there will be no tutoring via mail.