course descriptions kabk course title graphic design · course description kabk course title...

Course descriptions KABK Course Title Graphic Design

Teacher(s) Lu Liang & Susana Carvalho

Class(es) 1 A & B

Teaching period semester 1/semester 2

In the first year we teach the students that graphic design can be as broad as they like it to be. It can be a platform for broadcasting complex information; it can be used for making a flyer for your neighbourhood barbecue. Throughout the year students create a diverse body of work, through which they experience various media and formats to communicate. The work is about understanding the ability to shape the graphic landscape. We help them to develop an attitude towards design; they learn how a designer can be an author or an activist. We tell them that to be able to break away from conventions, it is necessary to know the basics; that eventually they'll be able to define their own set of rules. We'll always support any of the students’ initial plans, but we encourage them to approach their subjects critically and to keep focused during the process.

Learning objectives - Get a grip on the history, the role, the purpose and the possibilities of Graphic Design: understand, explore and comprehend. Take position in the field; engage with one’s surroundings.

- Develop a methodology. From the conceptual phase, generating ideas, through to the editing phase and finally the creative display of information, students are encouraged to look at the designing process as whole. They are encouraged to develop their own opinions; to voice as well as to question these opinions; to pursue a personal approach to graphic design. In the era of the template, of flatness in communication, it is crucial for a graphic designer to take a well-defined position, to be creative in his methods and excellent in his execution.

- Develop a systematic practice. Research and explore before giving form. Set a goal or question; analyse and research one’s subject or content; organise and shape information; give form and iterate; evaluate. Students thus learn to approach their subject matter critically; to translate ideas into creative form; to question, present and defend their work. Students develop their own approach and formal language.

- Get to know fundamental skills; know when or how to (not) apply them: -Develop a sense of composition (tension, balance, movement) -Relationship between text and image (image and content editing; structuring of information; creation of narratives); -Typesetting text for seeing (display sizes) and for reading (reading sizes) in conjunction with the typography class -Work with colour -Explore and understand a variety of media (posters, magazines, newspapers, flyers, books, banners, flags) -Printing techniques: silkscreen, xerography, stencil print and offset printing -Book binding techniques: saddle stitching (wire or thread), perfect binding -Learn and practice fundamental computer skills -Develop a personal approach/handwriting

Teaching activities and working methods

Activities: Practical assignments (mostly individual but also in the group). Small lectures/presentations related to the practical assignments. Individual talks during the process phase of assignments. Group presentations/discussions. Exposure, mainly in the art, cinema and design fields: films, articles/books, exhibitions, talks, visits to design studios. Methods: In this class, emphasis is placed on a holistic approach in the development of a (graphic) design project. Learning by doing in context: in this manner students acquire basic skills without too much effort, and they immediately understand the usefulness of these skills. Engaging the student: by having them work with the content they find interesting; by providing a structure to help and teach the students fundamentals in the discipline. The use of absurdity, movement, and surprise as pedagogic tools for creativity.

Assessment method (including, for example, minimum attendance and other requirements).

- The students course work is evaluated in an Individual Review. Here the student does not receive an individual grade, but extensive verbal and written feedback. His/her work on all of the courses taken together is also evaluated, in a Collective Assessment. This assessment determines if the student can continue to the next year.

- - In the Individual Review, the student presents all the work he/she has produced for

the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more.

- During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation.

- - Assessment criteria include: - • Quality and consistency of the produced work - • Application and understanding of basic skills on a micro- and macro-

typographic level, and in terms of several calligraphic principles - • Development of a frame of reference, both historically and contemporary - • Range of experimentation and investigation - • Research skills, editing skills - • Critical approach to Typography and Type Design - • Attendance (80% minimum) and participation in class - - Rather than evaluating course-specific assignments, the Collective Assessment of

a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.

- - If a student has an insufficient Collective Grade, the subsequent semester

provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.

Required and recommended sources

Good for the soul: The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation Jacques Rancière (1991) General theory/history: Graphic design: a concise history Richard Hollis (2005) Women in Graphic Design 1890-2012 by Gerda Breuer (Author, Editor), Julia Meer (Editor)

Graphic Design: Now in Production Author: Ian Albinson, Rob Giampietro (2011) Catherine De Smet: Graphic Design History In The Writing 1983-2011 Catherine De Smet, Sara De Bondt Further reading: Unjustified texts: perspectives on typography Robin Kinross Modern typography: an essay in critical history Robin Kinross Ideas: Daniel van der Velden http://metropolism.com/magazine/2006-no2/research-destroy/ What is a Designer Norman Potter Typography: Jost Hochuli & Robin Kinross Designing books: practice and theory (1996) Josef Müller-Brockmann Grid systems in graphic design: a visual communication manual for graphic designers, typographers and three dimensional designers

Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris.

Study load 5 EC

Contact hours 5 hours per week

Independent study

Please check the most important competencies involved in this course (max. three!)

Creative ability √

Capacity for critical reflection √

Capacity for growth and innovation √

Organisational ability

Communicative ability

External awareness

Capacity for collaboration

Course description KABK

Course Title Graphic Design

Teacher(s) Bart de Baets

Class(es) First year

Teaching period semester 1 and 2

Brief description In the first year, the Graphic Design course introduces students to graphic design in its broadest sense. The goal of the course is to make students aware of the great diversity and possibilities of graphic design. A vital and characteristic aspect of the class are the smaller, more hands-on assignments and playful exercises. In direct and more indirect ways these exercises are related to the general assignment of the course.

Learning objectives The course teaches the beginnings of typographical rules and conventions. A student learns to typeset a text; to choose a typography that expresses their idea or matches the content of a text. He learns ways to make a text scream out loud; ways to design headlines; ways to make a larger text look accessible whilst reflecting the character of its content. Through interventions a student should be able to create typographic hierarchy in a text. Another significant part of the course are images: image editing; building a narrative using images; recognising the impact of images; recognising how the force or function of an image changes when it is sized down or up.

Students have to try out the various reproduction methods that the academy workshops have to offer. It is up to the students to decide when to use the workshops. In conversation with a student I suggest the various options available. Students are required to make use of the screen print workshop (at least once): to experience this medium, to work with large paper sizes and to see their work reproduced in a larger format. When a student expresses a need to bend the rules of an assignment for the benefit of the eventual outcome, I want to hear his reasons. In this manner, a student becomes aware of his responsibilities, and of the importance of clear communication in the design process. To provide room to discuss these personal desires and to find a place for them within a personal design practice, is an important aim of this course.

I want an editorial involvement from the students. The ability to vocalise and write about an idea is a key aspect of the course. Various ways to express this content are explored. In the past this has been executed through mediums such as sound recordings, short videos, fanzines, posters, talk shows, booklets, performances, collective readings, hands on experiments involving only analog tools, et cetera. Simple tricks are taught to make ten sketches instead of focussing on just one design; blow up a small sketch to an unusually large format. Anything for the sake of the experiment.

I urge students to consider alternative ways of presenting. Last year for instance, the students were asked to work in a talk show format. It involved developing a graphic identity for the talk show; making an on screen interface; designing posters announcing the event, et cetera. This taught the students writing skills and storytelling; as well as the importance of entertainment, timing, planning and details.

Leeractiviteiten The course tests the students abilities on various levels, through larger and smaller assignments. I ask students to respond to each assignment with a certain type of content; the content is theirs to collect or generate. Students have to try out various mediums to formalise their ideas in a suitable way. At times, the assignment places restrictions on medium, use of color, or size. Assignments may call on a student's capability to think conceptually or to display information; his

composition skills; his deftness in image editing; et cetera. Not every one of the smaller assignments has to be documented, or to be presented during the Collective Assessments at the end of the semester. Throughout the semester, the student's development is discussed individually. To become familiar with each other's design processes, assignments are also discussed in smaller groups, as well as in meetings with the entire group. Between the individual assessment of the course and the Collective Assessment the general assignment can be a finalised. I believe in radical last minute changes and the inspiring stress a week like this engenders. It is important for my own practice as a designer. I like the students to benefit from this experience as well: it can lead to surprising end results. This is the only week in which I allow myself lots of emailing with the students. The first year is divided into two groups; tutors Bart de Baets and Susana Carvalho switch groups after the Christmas holiday.


The course teaches the beginnings of typographical rules and conventions. A student learns to typeset a text; to choose a typography that expresses their idea or matches the content of a text. He learns ways to make a text scream out loud; ways to design headlines; ways to make a larger text look accessible whilst reflecting the character of its content. Through interventions a student should be able to create typographic hierarchy in a text. Another significant part of the course are images: image editing; building a narrative using images; recognising the impact of images; recognising how the force or function of an image changes when it is sized down or up. Students have to try out the various reproduction methods that the academy workshops have to offer. It is up to the students to decide when to use the workshops. In conversation with a student I suggest the various options available. Students are required to make use of the screen print workshop (at least once): to experience this medium, to work with large paper sizes and to see their work reproduced in a larger format. When a student expresses a need to bend the rules of an assignment for the benefit of the eventual outcome, I want to hear his reasons. In this manner, a student becomes aware of his responsibilities, and of the importance of clear communication in the design process. To provide room to discuss these personal desires and to find a place for them within a personal design practice, is an important aim of this course. I want an editorial involvement from the students. The ability to vocalise and write about an idea is a key aspect of the course. Various ways to express this content are explored. In the past this has been executed through mediums such as sound recordings, short videos, fanzines, posters, talk shows, booklets, performances, collective readings, hands on experiments involving only analog tools, et cetera. Simple tricks are taught to make ten sketches instead of focussing on just one design; blow up a small sketch to an unusually large format. Anything for the sake of the experiment. I urge students to consider alternative ways of presenting. Last year for instance, the students were asked to work in a talk show format. It involved developing a graphic identity for the talk show; making an on screen interface; designing posters announcing the event, et cetera. This taught the students writing skills and storytelling; as well as the importance of entertainment, timing, planning and details.


The course tests the students abilities on various levels, through larger and smaller assignments. I ask students to respond to each assignment with a certain type of content; the content is theirs to collect or generate. Students have to try out various mediums to formalise their ideas in a suitable way. At times, the assignment places restrictions on medium, use of color, or size. Assignments may call on a student's capability to think conceptually or to display information; his composition skills; his deftness in image editing; et cetera. Not every one of the smaller assignments has to be documented, or to be presented during the Collective Assessments at the end of the semester. Throughout the semester, the student's development is discussed individually. To become familiar with each other's design processes, assignments are also discussed in smaller groups, as well as in meetings with the entire group. Between the individual assessment of the course and the Collective Assessment the general assignment can be a finalised. I believe in radical last minute changes and the inspiring stress a week like this engenders. It is important for my own practice as a designer. I like the students to benefit from this experience as well: it can lead to surprising end results. This is the only week in which I allow myself lots of emailing with the students. The first year is divided into two groups; tutors Bart de Baets and Lu Liang/Susana Carvalho switch groups after the Christmas holiday.


My practice is built on intuition, on the development of ones own outlook on design and commissioned projects. To make a student part of that personal way of working through books is key. Here's a brief selection I often find myself bringing to class: Just Kids — Patti Smith The Fourth Sex — Raf Simons and Franceso Bonami Some Faggy Gestures — Henrik Olesen Printed Matter — Ettore Sottsas Publications by Isa Genzken

Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 5 EC

Contact hours 2,5 hours a week

Independent study


Creative ability yes Capacity for critical reflection yes Capacity for growth and innovation yes Organisational ability no

Communicative ability no External awareness no Capacity for collaboration no

Course description KABK Course Title Image

Teacher(s) Katrin Korfmann & Tudor Bratu

Class(es) First year

Teaching period Semester 1, Semester 2

Brief description Images are the essential ingredients in the work of a graphic designer. In the first year Image course the students learn about basic elements and tools to create an interesting image: composition; light and color; and concept. The central media of this course are lens-based, namely photography and video. The main goal of this course is to teach students ‘how to look’. How can a maker approach a subject, create a concept, and visualize his approach? Students learn how to communicate a concept through an image in an interesting and critical manner that moreover relates to the world around us. Students work on different visual assignments with theoretical input. Their way of working on an assignment is important in relation to their final result. In class we analyze and discuss the students’ images and concepts, and relate them to contemporary art. Moreover, I try to stimulate experiment. Artistic progression and innovation only come about if students feel free to explore new and unknown visual languages. The basic technical skills of lens-based media are an important element of this course, as well as stimulating an experimental and creative use of the equipment. There are no mistakes at art school. Students must articulate personal interests and incorporate them into their work. They must also relate these interests to the world around them. Finding these interests, learning to formulate a view and opinion at the beginning of their training as graphic designers, is the first step towards the end goal of a strong, articulated and individual artistic vision. Discussions about work in progress, in smaller and larger groups, are essential to developing a critical approach towards one’s own work and the work of colleagues. Lens-based media are in the middle of a revolution, shifting from professional use to mass use. For upcoming graphic designers it is important to become aware of this change, and formulate their own opinions on it. I therefore provide the students with essays and lectures on contemporary visual image culture. Visiting contemporary art exhibitions is an essential part of the course, intended to stimulate knowledge about art and helping students find points of reference for their own visual work.

Learning objectives The student is taught how to create images based on a concept. The student learns to make multiplayered images that communicate, that are more than an illustration, namely images open to the interpretation of the viewer. The course teaches students to understand the quality of their own as well as others’, and how to name these qualities. The student is trained in basic knowledge of photographic techniques: using a camera; working in the photo studio; using flash light and

producing a fine art photo print. The student becomes aware of lighting, becomes able to read and analyse light in relation to a space or object. In addition, students develop a critical view on composition and color. At the end of the course, students should know how to make an interesting presentation (both visually and verbally), and have acquired basic skills in installing a work in relation to an exhibition space. At the end of the semester students have developed a critical approach towards their own work as well as that of others. Learning to collaborate is an essential part of the course. Students get familiar with contemporary art and with places in The Netherlands where contemporary art exhibitions are held. I stimulate students to incorporate these visits into their study routine, as a main source of inspiration. The students are motivated to develop new techniques; unusual artistic approaches; to experiment.


Students receive short term and long term assignments in relation to the learning objectives. The development and final result of these assignments are discussed in small groups, with the teacher and fellow students. Several technical photo workshops are organised: -Technical camera basics -Using the photo studio and flash light -Using a fine art printer Students also learn about presentation skills. They visit exhibitions, then formulate and present an opinion on a selected artist. Furthermore students will read, hear and discuss contemporary takes on photography. They should be able to place their own interests in a global, societal context.


The students course work is evaluated in an Individual Review. Here the student does not receive an individual grade, but extensive verbal and written feedback. His/her work on all of the courses taken together is also evaluated, in a Collective Assessment. This assessment determines if the student can continue to the next year. In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation. Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary

• Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress. If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.


Movies: + Renzo Martens, Episode III + Dennis O'Rourke, Cannibal Tours + Blow Up, Antonioni Essays: + Marvin Heiferman, Well what is photography?, Aperture + Susan Sonntag, On Photography + The Canon after internet, Aperture Lectures: + Pictoright: Image rights in 2016 + Photographic Universe: Photographic Truths with Mia Fineman and Fred Ritchin (online video) + Aperture Foundation at The New School: Invisible – Surveillance (online video) + Katrin Korfmann: about my photographic work Exhibition: + Unseen photography fair (sem I) + Art Rotterdam (sem II) + Exhibition visit of one of the following lists: Witte de With, Rotterdam Museum Boijmans Van Beuningen, Rotterdam Stedelijk Museum, Amsterdam De Appel, Amsterdam Gem, Den Haag De Pont, Tilburg Van Abbemuseum, Eindhoven Fundatie, Zwolle Muhka, Antwerpen Museum Voorlinden, Wassenaar Workshops: + General technical introduction on photography/photo camera at the Photography department + Technical introduction photo studio / flash light

Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 5

Contact hours 5 hours per week Independent study

Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration

CoursedescriptionKABK

CourseTitle Image

Teacher MichielSchuurman

Class 1

Teachingperiod Semester1/semester2

Briefdescription Thiscourseisthebeginningofavisualtrailthatcontinuesthroughoutthewholefouryearsoftraining.Theprogramconsistsofaseriesofassignmentsthatincreaseindifficultyasthestudentprogresses.

Thefirstassignment,‘BlackandWhiteCollage’,isfocusedonthedevelopmentofformalmeans.Thesecondassignment,‘Mono-Printing’,addressesunexpectedoutcomes–whichoftenoccurinmono-printing.Intheseassignments,thephysicalproductionandthestudents’progressaremoreimportantthantheaestheticoutcome.Iencouragethestudentstomakealotofwork,andtodocrazyexperiments.

Inthelastassignment,’TextandSpace’,Iwillshowtherelationshipbetweengraphicdesignandtheuseoflanguageincontemporaryart.Amuchmoreconceptualwayofthinkingisrequiredinthisassignment.

Learningobjectives Thestudentshouldmasterbasicskillswithformalandvisualmeans.Heshouldbeabletoreflectontheunexpectedoutcomeofhisexperiments.Hehastocommunicatehisideasdecisively.Inhiswork,heshouldcriticallyexamineandquestionhisposition.Foreachassignment,Iexpectexpansiveresearch.Inthemoreconceptualassignments,thestudentshouldbeabletousethecorrectmediumtocommunicatehisideas.

Teachingactivitiesandworkingmethods

Theassignmentsareintroducedinclassanddistributedonpaper.Thereisagroupdiscussionabouttheassignment,withroomforquestionsandfurtherexplanation.Partoftheworkontheassignmenttakesplaceinthegraphicsworkshop.

Assessmentmethod(including,forexample,minimumattendanceandotherrequirements).

ThestudentscourseworkisevaluatedinanIndividualReview.Herethestudentdoesnotreceiveanindividualgrade,butextensiveverbalandwrittenfeedback.His/herworkonallofthecoursestakentogetherisalsoevaluated,inaCollectiveAssessment.Thisassessmentdeterminesifthestudentcancontinuetothenextyear.IntheIndividualReview,thestudentpresentsalltheworkhe/shehasproducedforthevariousassignments,includingsketchesandresearch.Theworkcanconsistofposters,publications,presentations,audioandvideo,installations,objects,researchdocuments,digitalfiles,webworks,videowork,flyers,typedrawings,calligraphy,writingtools,andmuchmore.DuringthisIndividualReviewitisthestudent’stasktoreflectcriticallyonthepastsemesterandtomakehis/herdevelopmentinsightful,bothintermsofsuccessesandfailures.Awrittenself-reflectionispartoftheIndividualReview;thiscanbeastartingpointfortheconversation.Assessmentcriteriainclude:• Qualityandconsistencyoftheproducedwork• Applicationandunderstandingofbasicskillsonamicro-andmacro-typographiclevel,andintermsofseveralcalligraphicprinciples• Developmentofaframeofreference,bothhistoricallyand

contemporary• Rangeofexperimentationandinvestigation• Researchskills,editingskills• CriticalapproachtoTypographyandTypeDesign• Attendance(80%minimum)andparticipationinclassRatherthanevaluatingcourse-specificassignments,theCollectiveAssessmentofastudentconsidersiftheentiretyofhis/herworkshowsthathe/shehasunderstoodandappliedthevariousskills,techniques,theories,andmethodsthathavebeencoveredduringthesemester;andifthestudenthasshownsufficientprogress.IfastudenthasaninsufficientCollectiveGrade,thesubsequentsemesterprovidestheopportunitytoimprovetothelevelnecessary.Iftheresultsinthesecondsemesterarenotsufficienteither,thestudentisaskedtoredotheyear,or—inextremecases—toleavethedepartment.However,thisisneverbasedontheresultsforonespecificcoursebutonthecollectiveresultsand,inthelattercase,onformalitiessuchasattendanceandworkethic.

Requiredandrecommendedsources

Thelibrary,internetandartexhibitions.

Studyload(NB:1EC=28workinghours.NumberofEC’smustequalthetotalnumberofcontacthoursandthenumberofhoursforindependentstudy,dividedby28.StudyloadmustcorrespondwiththestudyloadmentionedintheECTStablesandOsiris.Studyload 5EC

Contacthours 5hoursaweek

Independentstudy

Pleasecheckthemostimportantcompetenciesinvolvedinthiscourse(max.three!)

Creativeability XCapacityforcriticalreflection XCapacityforgrowthandinnovation XOrganisationalability Communicativeability Externalawareness Capacityforcollaboration

CoursedescriptionKABK Course Title Typography & Letters

Teacher(s) Rob van den Nieuwenhuizen (Typography, semester 1 & 2), Guido de Boer (Letters, semester 1), Marina Chaccur (Letters, semester 2)

Class(es) Year 1

Teaching period Semester 1 & 2

Brief description Typography and Type are ubiquitous and key parts of the foundation of visual communication, closely connected to both written and verbal language. However, most students have very little knowledge of Typography and Type when they start their studies, which is why the first year introduces them to these disciplines in a number of different ways. Students are guided to develop a relevant frame of reference and a critical attitude. They learn to investigate visual, conceptual and editorial possibilities. They are introduced to technical and theoretical skills, and practice these skills. They learn how to verbalize, translate and present their typographic ideas. They also learn to apply these ideas and skills in interdisciplinary and multi-medial settings. The purpose of this course is to help students develop the tools they need in order to visually articulate their ideas; and to trigger their enthusiasm and love for anything related to typography and letters.

Learning objectives The student learns

• About the most common digital and analogue tools for producing typography and type

• How and why to use these tools • To understand and apply basic skills and typographic rules on a

micro- and macro-typographic level • To understand and apply important calligraphic principles • How to use a range of workshops (silk-screen, risograph print,

letterpress, etcetera) • How to design and control his/her own design process from a

rough sketch to a finished end product, all within a given time-frame and given restrictions

• About relevant historical and contemporary ideas, theories, developments and makers (designers, artists, researchers, etc.), to broaden his frame of reference

• How to conduct visual research • How to articulate and present ideas and opinions, to embed

meaning and narrative into a project. Editing text. • To develop a critical approach towards typography and type

design; to question his own and others ideas, process and designs


Per semester, two tutors teach this course: one tutor focuses on typography, the other on calligraphy and type design. Assignments are mostly individual, sometimes collaborative. The following activities and methods are used:

• Lectures and presentations by both teachers and students • Individual talks • Small group talks • Class discussion • Peer reviews • Technical instruction

• Excursions • Short workshops


The students course work is evaluated in an Individual Review. Here the student does not receive an individual grade, but extensive verbal and written feedback. His/her work on all of the courses taken together is also evaluated, in a Collective Assessment. This assessment determines if the student can continue to the next year. In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation.

Assessment criteria include:

• Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and

macro-typographic level, and in terms of several calligraphic principles

• Development of a frame of reference, both historically and contemporary

• Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class

Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.

If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.


For both Typography and Letters an array of articles, books, blog posts, documentaries, exhibitions and more, will be discussed in the context of assignments and lectures. Aside from that, several key books will regularly be used for reference. This list includes but is not limited to:

• Josef-Müller Brockmann - Grid Systems • Robert Bringhurst - The Elements of Typographic Style • Emil Ruder - Typographie • Jost Hochuli - Detail in Typography • Jan Tschichold - The New Typography • Gerrit Noordzij - The Stroke • Eric Gill - An Essay on Typography • Frank E. Blokland - Kalligraferen: de kunst van het

schoonschrijven • More

Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must

correspond with the study load mentioned in the ECTS tables and Osiris.

Study load 10 EC

Contact hours 6 hours and 40 minutes per week

Independent study


Creative ability X

Capacity for critical reflection

Capacity for growth and innovation

X



External awareness X



Course Title Interactive Media Design 1st year

Teacher(s) Henrik van Leeuwen

Class(es) IMD

Teaching period 2018-2019 Semester 1&2

Brief description In the first year of Interactive Media Design we take the students into the fields of digital arts, internet arts, interaction design / arts, gamification, general computer and game culture. We introduce the students to the wide range of (interactive) media and techniques available to the contemporary graphic designer. We focus on experimentation and discovery, by combining (interactive) media to challenge the students’ design practice. In close connection and in overlap with the creative coding classes, we experiment with combining code, (analogue) media and techniques. These ‘media’ can be film, sound, VR, robotics, sensors, electronics, spatial objects, to name a few; but also more traditional media such as screen printing, risograph printing, woodworking and working in steel. We try to encourage the students to experiment beyond the flat and printed surface, to enter the physical space. By combining these newly discovered, very different media with code-based tools, we encourage the student to open their horizons to the possible fields in which a future graphic designer could operate.

Learning objectives The students have to experiment with the new media and techniques we offer them. Our focus is on web, film, sound, installations and spatial representation, embedded in the contemporary graphic design field. The students have to embed these newly discovered media en techniques into their developing design practice, and learn how to combine these into convincing and refreshing experiments. In conjunction with the creative coding classes we dive into coding languages such as Arduino, Processing, HTML, Javascript and CSS. Part of the IMD course is focused on implementing these newly learned skills into their experiments and assignments.


The course starts by providing an overview of the history and current status of spatial art and design, in relation to the graphic design field. During the course the students are introduced to designed and constructed spatial objects, how to represent them in a spatial environment and in the virtual realm. By having one-on-one discussions, smaller group discussions and presentations in class, we let the student discover and experiment with different ways to present their design process and results. The courses coding and IMD conclude with a public exhibition at the end of the semester: to force the students to experiment with positioning their projects in a physical world; to help them discover new techniques to present their projects to an outside audience.


The students course work is evaluated in an Individual Review. Here the student does not receive an individual grade, but extensive verbal and written feedback. His/her work on all of the courses taken together is also evaluated, in a Collective Assessment. This assessment determines if the student can continue to the next year. In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation. Assessment criteria include:

• Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress. If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.


TBD

Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris). Study load 10 EC

Contact hours 3 hours and 20 minutes per week

Independent study


Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability External awareness X Capacity for collaboration

Course description KABK Course Title Drawing Class

Teacher(s) Eline van Dam

Class(es) 1 A & B (full time students)

Teaching period First and second semester

In the first year of Drawing Class, students start with short drawing experiments: drawing eachother; collaborative drawings; quick drawing games like speed-sketching, and drawing while listening to different kinds of music. This is a welcome experience, both as a warm-up and as an effective way to get to know each other. In addition, it is a productive time, with the emphasis on quantity instead of quality. This is a good way to get an overview of a student’s skills, technique, motivation, talent or feeling for colour and composition. These observations do not weigh heavily in the assessment, but they do help me in early moments of reflection on a student. After a few classes the students are asked to look a little bit harder: at architecture in the city; at people in a busy location; at nature in the forest, at a still life or a model in class. I aim to develop each student’s individual skill-set, commenting on technique; the balance between observing and drawing; composition; understanding of light source(s); use of shading or texture; use of material. After working individually, students are asked to work together on images. This requires planning, discussing, compromising, adapting, reacting, dividing work; all the while following a set theme or a certain assignment. A few classes later, after developing an overall awareness of materials and technique, students are slowly asked to think about more about their concept, in editorial drawings or in assignments of a more conceptual kind. Creating out of nothing for example, while still explaining the what, why and how. Drawing visuals corresponding with news articles or headlines, where opinion becomes part of the visual. Or working in a series, for example an assignment where students are asked to draw a still life, portrait and a landscape while figuring out a way to make the images related to each other. An assignment where the analogue meets the digital. An assignment where time plays a part, when students are asked to make a one-minute hand-drawn animation – either digitally animated, or stop-motion. The first year ends with an open assignment. Instead of all working on one assignment, every student will work on an individual assignment which we come up with together. Developing a personal style; refining a favourite technique; revisiting an earlier assignment; repairing an insufficient performance; or working from a personal interest. Here I have a moment of individual reflection and feedback, going over my notes made during the year and fine-tuning the individual assignment for each student.

Learning objectives By the end of the first year — keeping in mind the three years ahead — I like to see my drawing class students to know basic drawing materials and techniques (pencil, crayon, charcoal, watercolour, paint, digital drawing, et cetera.) An essential foundation for proper sketching, ideas to paper & concept development. Experience in and knowledge of drawing, painting, and printing techniques is developed further in the next three years of their training. Overall, I want students to be able to visualise their idea; to quickly sketch out thoughts and render a concept; while being aware of the possibilities of mixing analogue and digital techniques. In addition, I like students to start their second year having made the first steps in analysing or recognising their individual visual interest, style and/or identity. Aware of their strengths and weaknesses in all that is related to drawing and visualising; knowing where to grow, what their less developed skills are; or where to embed more polished skills into the right assignments.


Assignments can be found online, informing the students on what materials to bring; giving visual guidance in the form of related projects or inspirational/helpful images – obviously without spoilers, or examples, trying not to influence the student to much. Every class starts with a brief introduction of the new assignment, sometimes after first presenting and discussing last week’s assignment results. Most of the work is done in class so I have an overview of a student’s progress, growth, difficulties and work methods. During class I walk around and inform, adjust, guide, and help, while asking and answering questions – although I make sure there are moments of silence too, for concentration. Sometimes we take a field trip — drawing buildings or people in the city, drawing nature in the forest nearby. I enjoy organising a museum visit once a year, when a relevant illustrator or artist fits an assignment or is of current/classical interest. There are moments when a documentary plays either at the beginning of the class or during class – if it does not distract too much from the work. Secret Knowledge by David Hockney for instance is the basis for a drawing assignment.


The students course work is evaluated in an Individual Review. Here the student does not receive an individual grade, but extensive verbal and written feedback. His/her work on all of the courses taken together is also evaluated, in a Collective Assessment. This assessment determines if the student can continue to the next year. In the Individual Review, the student presents all the work he has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation. Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress. If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.


Some assignments come with a corresponding motivational video, documentary or other sources. Other assignments might require looking at a website, reading an online article, or visiting an exhibition. Sometimes certain books from the library are offered as backup or inspiration in class; sometimes a book is a source for an assignment. Besides certain mandatory sources, or handy, helpful ones, interesting shows or books are digitally shared with students. Maybe the art supplies store can also be seen as a source. David Hockney, Yann Kebbi, Saul Steinberg, Howard Hodgkin, Markus Lupertz, Jean Jullien, Andy Rementer


Study load 4 EC

Contact hours 2,5 hours per week

Independent study


Creative ability √

Capacity for critical reflection √

Capacity for growth and innovation √



External awareness


Format course descriptions KABK

Course Title Coding

Teacher(s) Tjerk Woudsma

Class(es) Year 1

Teaching period 2018-2019

Brief description The goal of this class is to introduce first year students to the relationship between code and the concept of parametric / computational design. The focus of the course lies on learning the basics of the Processing language, including programming basics such as variables, data types, loops and iterative programming. Being able to read, write and talk about code is an essential skill for any future designer. Students are not restricted to the Processing programming environment, they are encouraged to use other languages (Python, JavaScript) or online services which enable them to realise their ideas or projects. A major objective of the course is to become aware of the possibilities provided by modern computers / digital devices and the internet.

Learning objectives De-mystifying programming in the context of design. Experimenting with rule-based / computational design, using both analog and digital media. Using code as a part of a design workflow and combining different software to come to create work. Becoming aware of the possibilities provided by, and experimenting with, online services such as Google search, online services, API’s, etc. Quick iteration, creating digital graphics / designs using code.


The course provides an overview of the history, the current status, the use of computers and coding in art/design. During the course students will learn the basics of the programming language called Processing. This is their fundament for creating generative and computer-aided design, based upon external sources and input. The course starts with a “Conditional Design” workshop, based on the Conditional Design Workbook. This is a starting point for learning rule-based / computational design methodology. After the workshop, the students create their own drawing rules, which they execute manually (using pen and paper, or digitally) to create generative design. Essentially creating pseudo-code algorithms and using them to get to visual results. While working on the first assignments, the students learn the basics of programming with in-class Processing workshops. This is where the students get their hands dirty with actual code. By seeing that it is possible to create an interactive application with a few lines of code, and with knowledge of the possibilities and restrictions of working with a programming language, they start using Processing playfully. With the knowledge acquired during the first half of the semester, the students start working on the final assignment directly after the first midterm assessments. This provides time for feedback and iteration in concept and code. With regular live-coding workshops in class on specific programming topics they can gather all the information to design and write a computer program from scratch.


The students course work is evaluated in an Individual Review. Here the student does not receive an individual grade, but extensive verbal and written feedback. His/her/their work on all of the courses taken together is also evaluated, in a Collective Assessment. This assessment determines if the student can continue to the next year.

In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more.

During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation.

Assessment criteria include:

• Quality and consistency of the produced work • Ability to conceptualize design choices • Development of a frame of reference, both historically and

contemporary • Range of experimentation and investigation • Research skills, editing skills • Attendance (80% minimum) and participation in class

Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.

If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.


To be decided.


Study load 4 EC

Contact hours

Independent study


Creative ability x

Capacity for critical reflection

Capacity for growth and innovation x



External awareness x



Course Title THEORY: CONTEMPORARY ART AND DESIGN

Teacher(s) Marjan Brandsma

Class(es) 1a and 1b

Teaching period semester 1, and 1st half of block 3 semester 2

Brief description This course is an introduction to recent developments in visual arts and (graphic) design. In order to understand these from a wider context, we research modernism, anti-modernism, postmodernism and relate these to the contemporary metamodernism. Short introduction to visual theory (the semiotic landscape, visual representations).

Learning objectives This course will give an understanding of relevant contemporary issues and developments in the field of graphic design by reflecting on these issues from a historical perspective, both conceptually and visually. This is a basis for the students awareness of his/her own position in the field of graphic design.


Lectures, student presentations (for all students and in smaller groups), exhibition visits, research on specific (contemporary and historical) graphic designers and making a work "In the Style of ..." (and description of the process), theoretical and visual research on selected topics, group discussions. Joint assignments (2 or 3 students) and individual assignments are alternated. Writing assignments (occasionally with a focus on the design of the text). Reading specific texts and writing/reflecting on them.


There are multiple theoretical assignments during the course, which all have to be at least sufficiently done. Minimum attendance 80%.

Grading scale


J. Aynsley, A Century of Graphic Design M. Davis, Graphic Design Theory Ph. B. Meggs, A History of Graphic Design Beatrice Warde (1930), The Crystal Goblet (article) John Berger (1972), Ways of Seeing G. Kress and T. van Leeuwen, Reading Images H. Foster, R. Krauss, Art since 1900 Cynthia Freeland (2001, But is it Art?

Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 5

Contact hours 5 hours a week

Independent study


Creative ability Capacity for critical reflection X Capacity for growth and innovation Organisational ability Communicative ability X External awareness X Capacity for collaboration

course descriptions kabk course title graphic design · course description kabk course title...

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