Student
handbook
2015/16
MA Visual
Communication
Blackwall Tunnel © Andrew Southall
Table of Contents
Course Description and Introduction
1
Overview
3
Why Study MA Visual Communication?
3
Course Structure
4
Course Diagram
5
Assessment
6
Full and part time routes
8
University Statement on Referencing
9
University Policy Statement on Plagiarism/Unfair practice
9
Course Aims & Learning Outcomes
10
Learning Environment
12
Library & Learning Services
12
Professional Context
13
Career Opportunities
15
Added Value
16
Teaching Quality
16
Quality Assurance
17
Contact Hours
17
Teaching Space
17
How We Support You
17
Departmental Boards
18
External Examiners
18
Listening to Views
18
Staff Profiles
20
Equal Opportunities
21
Module Descriptors
23
School
Bath School of Art and Design
Department
Department of Design and Critical Studies
Campus
Sion Hill / Newton Park
Final award
MA Visual Communication
Intermediate awards available
PGCert, PGDip
Relevant QAA Benchmark
statements
Art and Design (March 2008), and Master’s
Degree Characteristics (March 2010)
Date specification last updated
June 2015
INTRODUCTION
This course handbook will help you make best use of your studies in the Bath School
of Art and Design. You should not try to read the contents from cover to cover, but
rather familiarise yourself with its layout and read the relevant sections as you
proceed through the Course. University email is our official form of communication
and you are to check this on a regular basis.
For each module you will also find a Module Handbook on Minerva, this will have
more project specific details and scheduling.
Follow the link to the main Bath Spa University website for access to Minerva and
other information: www.bathspa.ac.uk or follow us on twitter @bathspauni
Or for the latest news, go directly to the Bath School of Art and Design website:
http://artdesign.bathspa.ac.uk and follow us on twitter @artbathspa
Disclaimer
Every effort is made to ensure the accuracy of the information reproduced here,
however, the definitive and approved version of Regulations is held by the University
Academic Office where they may be viewed by arrangement.
1
AN INTRODUCTION TO THE SCHOOL OF ART AND DESIGN
The Bath School of Art and Design has an illustrious history of art and design
education and research. Established in 1852, the School was founded as a result of
Government concern about the competition and strength of international design
and manufacture at the time of the 1851 Great Exhibition. Now an integral part of
Bath Spa University, with its focus on creativity, culture and enterprise, the School
continues this founding principle and legacy with active engagement and contribution
to the growing UK creative economy through the education of the next generation of
artists, designers and curators, and through the professional practice and research of
our community of staff, students and alumni.
Described as ‘the epitome of a proper art school’1, we aim to provide a vibrant and
dynamic educational environment conducive to the learning and development needs
of the art and design practitioners of the future. With our distinguished network of
experts and a platform of strong partnerships and collaboration across the institution
- and with our local, national and international educational and professional partners we are able to offer a rich, diverse and stimulating range of opportunities. Exemplary
professional practice and research oxygenates the creative character of our provision
and that, in turn, ensures that the School operates as a vital incubator for the creative
professions and wider communities.
The capacity of art and design to generate ideas, knowledge, understanding and
enquiry through material and practice-led forms is celebrated. We aim to enable you
to realise your ambitions through creative exploration, visual discovery,
experimentation and critical enquiry, thereby gaining the necessary capabilities for
problem solving, innovation, resourcefulness, independent and flexible thinking in
preparation for the world beyond the university.
For many of you, this period of intensive study and reflection will establish a template
for your future endeavours as art and design practitioners; for others this period will
act as a valuable springboard to further study or related careers. We want you to
realise your individual potential, to give form to your ideas and imagination, and to
empower you to contribute effectively in and through your chosen domain.
I wish you all the best for the creative journey ahead.
Professor Anita Taylor
Dean of Bath School of Art & Design
1 Sir Christopher Frayling
2
OVERVIEW
As with all of the School’s MA courses, the MA Visual Communication is underpinned
by the philosophy that research and enquiry are central activities to our specialisms.
We aim to provide you with the skills and abilities to become astute, adaptable and a
well-informed practitioners in photography, graphic design or illustration. Accordingly
we believe that academic and professional progress should happen in parallel. The
development of skills in contemporary software, equipment and professional best
practice, should be developed alongside academic rigour. In addition we will
emphasise the importance of collaborative working across specialisms.
The Postgraduate year is made up of three, fifteen-week trimesters. During the
course you will take one research and four practically based modules, culminating in
an exhibition, or presentation at the end of the final module: Masters Project. You will
be given Module Handbooks for each module of the course at the start of the
academic year. These will outline the weekly schedule, its rationale and aims, its
specific assessment details and the assessment criteria.
All the MAVC modules are designed to help you to broaden your contextual
understanding and develop your work practice to a coherent and professional
standard. You will draw on your previous academic and professional experience and
tailor the projects that you develop on the course to complement your future career
plans. The overall purpose of the programme is to enable you to improve the
contribution that you are able to make in your current workplace, to open new career
opportunities and to enhance the cultural relevance of your work, whilst increasing
the personal fulfilment you gain from your practice.
All students are expected to develop ideas and projects independently and will be
closely supported in this though tutorial, studio and seminar sessions. Opportunities
to develop real-world experiences are encouraged, as are entries for competitions,
and external exhibitions. You will need to demonstrate self-direction in extending
networks and creating work-based learning opportunities. You will also need to
gather the necessary research, practical, technical, aesthetic and problem solving
skills to develop and adapt your emerging practice for your future career. With these
issues in mind, we actively encourage collaboration and team working, appreciation
of diversity, reflection and self-evaluation, as well as the capacity to work
independently and to determine personal future learning needs.
WHY STUDY MA VISUAL COMMUNICATION?
In the current professional climate, specialisation within visual communication is
rapidly changing. In previous periods, specialist roles were clearly demarcated and
professionals tended to concentrate exclusively upon their specialist area. Recent
digital and technological advances have contributed to considerable change in such
roles. Increasingly specialists are expected to think coherently about context, to work
in more than one area and even to become specialists in more than one discipline.
The MAVC is a practice-based course that addresses this development. It allows its
specialist photography, graphic design and illustration students, to deepen and
broaden their understanding of the media of visual communication. As a student, you
will develop your specialist practice by refining contextual knowledge and technical
3
skills in your discipline. At the same time, you will explore the crucial relationship
between all the disciplines of visual communication and become much more
knowledgeable about their implementation.
In order that all MAVC students become conversant with current practice and debate
within the industry, you will have access to a range of lectures by visiting
professionals and will be expected to read and research using academic and industry
literature and journals. You will be expected to give individual and group
presentations on your work practice and to participate in critiques of your own and
others work. Importantly all students will be encouraged to engage in collaborative
projects and to improve their interpersonal skills, a crucial component in any visual
communication project
COURSE STRUCTURE
If studying full-time you will undertake 60 credits of modules over each Trimester. In
part-time mode you will undertake 30 credits of modules over a Trimester.
You will begin the course with Research Methodologies module. This will enable you
to contextualise and describe your intentions for developing your own practice in one
of the specialist strands within the course.
In the second module Developing Practice, you will develop an individual project in
consultation with your tutor and after producing a negotiated work proposal, you will
produce a piece of work in your specialist strand that best utilises your past work,
experience and knowledge.
The Practice in Context module will give you the choice to develop individually, or in
collaboration with one or more students, a piece of visual communication that draws
from all your areas of expertise and culminates in work that is focussed on an actual
or imagined local event and audience. Through group tutorials and seminars,
students and staff will examine exactly what is required of this kind of design project
by looking at examples and assessing strategies and processes
In the Practice in a Global Context module will give you the choice to develop
individually, or in collaboration with one or more students, a piece of visual
communication that draws from all your areas of expertise and culminates in a work
that is focussed on an actual or imagined international event and audience. Through
group tutorials and seminars, students and staff will examine exactly what is required
of this kind of design project by looking at examples and assessing strategies and
processes. For this module the group will begin by addressing the project work from
the previous module and discussing its shortcomings when used in this new context
The Masters Project should build on the knowledge you have gained and the working
relationships you have developed in the previous modules. You will negotiate a
project in conjunction with your tutor and will have the option to collaborate with
fellow students. For this, your final project, you will have the choice to produce work
that is focussed on an actual or imagined international event and audience, or a local
/ national one. You will account for this choice and its rationale in the supporting work
for this module. The final project work will be presented in the final MA VC exhibition
/ presentation.
4
5
COURSE DIAGRAM – MA VISUAL COMMUNICATION
Trimester 1
Trimester 2
Trimester 3
PG Cert (on completing 60
Credits)
PG Dip
(on completing 120
Credits)
Masters
(on completing 180
Credits)
AR7001-30
VM7003-30
AR7007-60
Research Methodologies
Practice in Context
Masters Project
30 Credits
30 Credits
60 Credits
VM7002-30
VM7004-30
Developing Practice
Practice in a Global
Context
30 Credits
30 Credits
TYPICAL PART-TIME - COURSE DIAGRAM
Trimester 1
Trimester 2
Trimester 3
PG Cert
(on completing 60
Credits)
YEAR 1
AR7001-30
VM7002-30
VM7003-30
Research
Methodologies
Developing Practice
Practice in Context
30 Credits
30 Credits
Trimester 1
Trimester 2
Trimester 3
PG Dip
Masters (on completing 180 Credits)
30 Credits
(on completing
120 Credits)
6
YEAR 2
VM7004-30
AR7007-60
Practice in a Global
Context
Masters Project
60 Credits
30 Credits
MODULE CREDIT STRUCTURE
All courses are credit-rated to help you to understand the amount and level of study
that is needed.
One credit is equal to 10 hours of directed study time (this includes everything you do
e.g. lecture, seminar and private study). Level 7 is equivalent in standard to a fulltime Masters postgraduate degree course
Type of
module
Credit rating
Total hours
equivalent
Hours taught
Hours selfstudy
Level 7
15
150
15
135
Level 7
30
300
30
270
Level 7
60
600
10
590
ECTS (EUROPEAN CREDIT TRANSFER AND ACCUMULATION SYSTEM)
The Framework for Qualifications of the European Higher Education Area
recommends that two UK credits are equivalent to one ECTS credit.
TYPICAL DURATION
The duration of this course is 45 weeks. The teaching year starts on 28 September
2015 and ends on 23 September 2016.
HOW THE TEACHING YEAR IS DIVIDED
Trimester One:
28 September 2015
29 January 2016
Mid-Trimester Break:
30 January 2016
7 February 2016
Trimester Two:
8 February 2016
10 June 2016
Trimester Three:
13 June 2016
23 September 2016
7
Holidays:
Winter Vacation:
12 December 2015
3 January 2016
Spring Vacation:
19 March 2016
10 April 2016
Public (Bank) Holidays:
2 May, 30 May, 29 August 2016
REQUIREMENTS FOR GAINING AN AWARD
In order to gain the MA Visual Communication award you will need to obtain a
minimum of 180 credits at level 7 or higher.
ASSESSMENT
The module assessment demonstrates how well you have performed in tackling the
intended learning outcomes, and is measured against grade criteria.
The module handbook provides more specific details on schedules, assignments,
formative feedback and summative assessment for this module.
Throughout the module you will receive formative feedback through individual and/or
group tutorials, peer seminar sessions and group critiques. In many cases this
feedback is received both verbally and in a written format.
You will be informed about the ways that marks/grades and feedback are provided
by your marking tutor(s) for this module, and you will receive written feedback on
your learning achievements against the assessment criteria for your summative
module assignment. The feedback aims to enable you to see how you may improve
or develop particular aspects of your work, and you will receive the summative
feedback along with your marks within three weeks of the completed module
submission date.
Regulation Details
Full details of assessment guidelines and degree classifications, including
procedures for extenuating circumstances failure, referral and deferral can be found
on the BSU website within the Taught Postgraduate Framework document.
https://thehub.bathspa.ac.uk/Media/ResearchandGraduateAffairs/Taught
Postgraduate Framework 13-14.pdf
TRANSFERS AND PROGRESSION
Accreditation of Prior Learning
As well as conventional routes, acceptance on the MAVC may be made possible
Accreditation of Prior Learning (APL) Policy
Entry may be available to other candidates who can demonstrate their ability to take
the course. This may be through Accredited Prior Learning (APL), for example where
previous formal learning other than at degree level (e.g. certain types of professional
qualification) may be considered as acceptable, or through Accredited Prior
Experiential Learning (APEL), for example where candidates have extensive
professional or other acceptable experience, or a combination of both. The Course
8
Leader will always consider such cases with advice from the Graduate School. APEL
cases will always involve interview.
APL may involve transferring previously accredited 7 Level credits as part
requirement of a BSU Award. In such cases the amount of credit that may be
transferred may not be more than 66.66% of the total programme of study.
Classification for the BSU award will be made on the basis of credits studied at BSU
only. Where such direct entry occurs, no award can be given unless the student
passes BSU modules with a credit rating appropriate to that award.
APEL forms can be downloaded here:
http://www2.bathspa.ac.uk/services/academic-office/quality-and-standards/a-zpage.asp
TRANSFERS
It may be possible to transfer from one level 7 course to another within the school of
Art and Design. This will usually take place at the end of the first module: AR7001.
Please contact Andrew Southall, the Programme Leader to discuss your individual
circumstances: a.southall@bathspa.ac.uk
EXIT AWARDS
A student shall be entitled to receive only one award as a result of a continuous
period of registration.
In broad terms a PGCert comprises the equivalent of studying for at least one-third of
an academic year, a PGDip for at least two-thirds of an academic year, and a
Masters for at least one academic year.
All awards are at Level 7 of the Quality Assurance Agency’s Framework for Higher
Education.
Award
Normal duration
(equivalent)
Total number of
credits required
PGCert
1 trimester
60
Modules required:
1: AR7001
2: VM7002
PGDip
2 trimesters
120
1: AR7001
2: VM7002
3: VM7003
4: VM7004
9
MA
1 year (3 trimesters)
180
1: AR7001
2: VM7002
3: VM7003
4: VM7004
5: AR7007
DEGREE CLASSIFICATION
The degree classification follows the established percentage bands:
For level 7:
•
>=70%
Pass with Distinction
•
60-69%
Pass with Merit
•
50-59%
Pass
•
<50%
Fail
To be precise, all overall percentages are calculated and printed to two decimal
places, 0.5 and above will be rounded up, whereas 0.4 and below will be round
down.
Full details of assessment guidelines and degree classifications, including
procedures for extenuating circumstances failure, referral and deferral for the
specialist Art and Design regulations, can be found on the BSU website:
https://thehub.bathspa.ac.uk/Media/ResearchandGraduateAffairs/Taught%20Postgra
duate%20Framework%2013-14.pdf
FULL AND PART TIME ROUTES
Given the studio-based nature of this course, there is plenty of opportunity for full and
part time MAVC students to interact, which we strongly encourage.
10
UNIVERSITY STATEMENT ON REFERENCING PROTOCOLS
All subjects within the school of Art and Design use the Harvard referencing system,
and all written work should conform to this. Further details of the Harvard system are
available from the BSU website.
http://www.bathspa.ac.uk/referencing
The Writing and Learning Centre offers referencing support for students through 1:1
appointments, drop-in, workshops, and bespoke sessions. If you would like to
request a WLC session tailored to the needs of your students, please complete the
form here. Students should visit www.bathspa.ac.uk/writingandlearning and follow
the links to book appointments or places on workshops.
Students must note that a digital copy of all essays must be sent to Minerva, without
this your submission is regarded as incomplete.
UNIVERSITY POLICY STATEMENT ON PLAGIARISM/UNFAIR
PRACTICE
Students are advised to take a particular note of the University policy statement on
plagiarism and unfair practice, full details can be found on the BSU website:
http://www.bathspa.ac.uk/services/student-services/policies/unfair-practice.asp
Plagiarism in particular has increased in recent years, partly due to the accessibility
of information on the Internet. Students should not imagine that cases of Unfair
Practice would not be detected. Every case of Unfair Practice, however minor the
scale of the case, is taken very seriously by the University and the procedures
outlined on the web page will be applied in all cases.
WHICH MODULES WILL I STUDY?
This is a specialist masters degree with compulsory modules. The course structure
diagrams are on page 6.
COURSE AIMS AND LEARNING OUTCOMES
WHAT IS THIS COURSE DESIGNED TO ACHIEVE?
This course is designed to give you the opportunity to:
•
develop advanced scholarship and research skills with which to explore, critically
evaluate, critique and then integrate historical, cultural and analytical approaches
to your visual communication projects
•
develop your creative and innovative abilities in order to deal with complex
issues and in the process increase your technical and technological skills in a
visual communication specialism to a professional standard
•
develop your intellectual and imaginative powers, your understanding and
judgement, so as to improve your abilities in problem solving, project
management and leadership to a high level from which you can deal with
complex issues and demonstrate self-direction exercise initiative and personal
responsibility in embarking upon a career with postgraduate level qualities in an
area of visual communication
11
On completion of the MA Visual Communication we expect our graduates to have
identified their professional career direction and to enter the industry, working for
existing businesses or setting up their own company, or freelance practice. Some
graduates will choose to continue their research into doctoral study. The MAVC has
been designed to offer a wide range of experiences and opportunities, such as
working collaboratively across specialist subjects within the context of visual
communication and making links to a variety of external networks. The University
provides a wide range of workshops, equipment and technical support and enables
the process to be supported by staff with enormous technical experience.
WHAT WILL YOU LEARN?
KNOWLEDGE
•
Key methods and concepts of analysis and criticism and an understanding of the
relationship between theoretical approaches to visual communication and current
industry practices
•
Definition and identification of individual working areas of practice, including
attitudes to professional digital processes and professional contexts within visual
communication
•
Current issues within the visual communication industry, including approaches in
sustainability and ethics
•
Independent learning ability required for continuing professional development as
well as self promotion, marketing and exhibiting skills
The MA Visual Communication is designed to deliver a range of skills leading to your
becoming a knowledgeable and confident specialist. You will learn technical skills
with equipment and software, as well as research skills. You will be expected to
develop your work independently and creatively. You will receive tutorial support,
and develop links with industry networks to help you develop your practice.
THINKING SKILLS
You will learn to:
•
identify and discriminate between techniques and processes applicable to your
research, advanced scholarship and the development of your visual
communication practice
•
deal with complex issues in difficult situations both systematically and creatively,
make sound and confident judgements and decisions in the absence of complete
data
•
begin to attain an autonomous overview and take responsibility for the
development and future of your visual communication practice
On completing the Final Masters Project, you will have planned for and explored a
creative process leading to a major long study output such as an exhibition,
publication or screening. For this project you will have demonstrated skills in
developing techniques appropriate to your output, and your project will be
underpinned by evaluative research and methods. The Final Masters Project is
intended for an external audience, you will therefore have developed appropriate
methods of communication to provide a context for your work
12
SUBJECT-BASED PRACTICAL SKILLS
You will learn to:
•
be able to plan and design projects for chosen contexts and use specialist
equipment and techniques to realise them to a professional standard
•
present ideas, planned and finished work orally and visually in an informed
coherent manner to industry and non-specialist audiences
•
use IT and other technology as a tool for information gathering, presentation,
design, making and production
•
recognise the contiguous characteristics of the media of visual communication
and to begin to build and develop an understanding of the changing relationships
between them
The subject area you choose to specialise has it’s own subject-based practical skills
and we expect you to select and experiment with digital and craft processes as you
develop your practice.
For example, you might wish to develop analogue
photographic prints, and also create an edited digitally printed publication with a
handmade book bound finish. To promote your practice you may develop a website,
to sell your work, or services. The skills learnt should reflect your interests,
demonstrate creativity and be of an appropriate form and design for your intended
audience.
SKILLS FOR LIFE AND WORK (GENERAL SKILLS)
You will develop:
•
Self-direction and originality in tackling and solving problems, and act
autonomously in planning and implementing tasks at a professional or equivalent
level
•
Ability to communicate ideas and experiments to others and to debate relevant
issues
•
Qualities and transferable skills necessary for employment requiring: the
exercise of initiative and personal responsibility decision-making in complex and
unpredictable situations
•
Independent learning ability required for continuing professional development
•
For example: you may organise and direct a fashion shoot for a publication. This
would involve planning and a multitude of tasks, from the creative research and
inspiration, developing the narrative, securing publication interest, booking
locations, models, photographers, briefing and directing, budgeting, editing,
communicating, delivering the final output and reflecting on the process.
COLLABORATIVE PROJECTS
Where two or more students collaborate on a project, each individual will be
responsible to identify their role in each unit of the project. This unit will be marked by
the MAVC team. Where the unit has been contributed to equally, students will
receive the same mark for it.
13
LEARNING ENVIRONMENT
•
You will be given a student email address and account login code, you will be
able to login on various computers across the University.
•
Learning is encouraged through participation in a wide variety of activities, for
example lectures, seminars, workshops, VLE Minerva, self-directed studio work
and ‘Live’ or Industry based projects.
•
Information relating to health and safety, can be found by following this link:
http://www.bathspa.ac.uk/services/health-and-safety/
Bath School of Art and Design and The Commons workshops are available to you
after Health and Safety introductions and appropriate tuition.
To use workshops outside of scheduled teaching, please refer to workshop
information on booking.
USEFUL AND IMPORTANT HYPERLINKS
http://www.bathspa.ac.uk/services/library/InfoSkills/
http://www.bathspa.ac.uk/careers
http://www.bathspa.ac.uk/services/student-support/
http://www.bathspa.ac.uk/services/health-and-safety/
https://wiki.bathspa.ac.uk/display/computing/Office+365+Student+Information
https://wiki.bathspa.ac.uk/display/computing/Ricoh+print%2C+copy%2C+scan+servi
ce+for+STUDENTS+-+FAQ
LIBRARY AND LEARNING SERVICES
There is a specialist art and design Library at Sion Hill which is open in term-time
from 8.45 am to 7 pm, Monday to Friday, and 1 pm to 5 pm at weekends. There are
quiet and group study facilities available. Whichever campus you study on you will
have access to the University Library at Newton Park which is open from 8 am to
midnight, Monday to Friday, and 9 am to 8 pm at weekends. The Library at Corsham
Court serves the needs of postgraduate students and researchers. All these facilities
are further supplemented by more collaborative spaces, bookable pods and quiet
study rooms in the Learning Commons which are available 24/7.
In addition to print books, the Libraries provide a range of DVDs and CDs, and a
wealth of electronic resources, including over 4,000 e-books and around 20,000
academic e-journals. Key texts and journal articles are increasingly available in eformat, to ensure you have 24/7 access to them.
Your course is supported by a dedicated Subject Librarian with subject knowledge in
your area. They provide training with online library resources and can offer advice
with your research. You can also register with the SCONUL Access scheme, which
enables you to use other UK academic libraries.
For further information, including access to the catalogue, opening times and contact
details, please see the Library website.
WRITING AND LEARNING CENTRE
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The Writing and Learning Centre (WLC) is based at Newton Park Library but its
services are available to all students. WLC staff can assist with academic writing,
referencing, time management and critical thinking to help you reach your full
potential during your degree. Appointments with them are available at Sion Hill and
Corsham Court: see the web pages for details of times and places.
Students with dyslexia or other specific learning needs are welcome to use the WLC
but should also contact Student Support.
PROFESSIONAL CONTEXT
Understanding the current and likely future of professional expectations and
standards within visual communication is an integral component of the MAVC.
Preparing students for this professional landscape and the demands its employers
and commissioners will make, is approached in three ways by the course, through
professional experience and professional practice and though contact with
professional bodies:
Professional Experience
The visiting lecture series (details of which appear in module handbooks), is
focussed on presenting students with a wealth of current professional experience,
relayed by working practitioners. Recent visiting lecture programme speakers
include:
Barnaby Barford, Greg Burne (Big Active Agency), Damon Murray, Sheena Calvert,
Neil Drabble, Paul Gorman, Paul Gravett, Kate Gibb, Keith Harrison, Alaistar
Humphreys, James Jarvis, Henrik Kubel / 2-SWHK, Scott King, Jurg Lehni, Jeremy
Leslie, Chris Long, Michael Marriot, OK-RM, Marcus Oakley, Stefi Orazi, Hans Dieter
Reichert, Paul Sahre, Yuri Suzuki, Matthew Hodson, Matilda Saxow, Marcus
Walters, Nick White, Neil Drabble, Kathryn Faulkner, Simon Larbalestier, Gina
Lundy, Donald Maclellan, Carol Sachs, Andy Sewell, Ian Teh, Tom Jackson Carol
Sachs, Simon Buckley, Lomo Kev, Stephen Seal, David Hedges,
Professional Practice.
Since MAVC students come from a wide variety of backgrounds, some may need
extensive training in the professional practices listed below and others may have
these skills already. The course is therefore designed to integrate them into the first
three practical modules of the MAVC, so that those that need to, can progressively
augment their abilities. Utilising the skills and experience of staff members, our
students and our visiting professionals, we will ensure that all individuals on the
course have guidance and workshops in the following:
i). Content management / workflow / metadata skills
Image and design is often used across media and platforms such as web pages,
moving image, blog, social media, tv as well as traditional print. Projects will need to
be designed with multiple use in mind. In addition image / design / text will (usually)
need to be tagged with metadata, so that articels can be found and catalogued
online. Content management, workflow and metadata skills are a part of the thinking
and planning of all Visual Communication projects but will be concentrated upon in
the Developing Practice module.
ii).Copyright and intellectual property rights
Underpinning any professional project are the terms under which work is produced.
The intellectual property rights, copyright and the legal status of image and design
need to be properly established before a commission is undertaken or image / design
15
/ text re-use is agreed. Copyright and intellectual property rights will be concentrated
upon in the Practice in Context module.
iii). Commercial skills - contracts, commissioning, negotiation, self-promotion.
An understanding of commercial skills including the preparation of contracts,
commissioning, negotiation, sales, marketing and promotion are an important part of
working as a professional in Visual Communication even if individual practitioners do
not deal with these areas directly. Commercial Skills form part of the Practice in a
Global Context module.
Professional Bodies
The MAVC course works in relation and refers to professional bodies in each of its
subject specialisms. Students are encouraged to make their own connection with and
where appropriate to join the professional bodies in their specialist area:
Photography
British Press Photographers Association (BPPA)
http://thebppa.com
British Institute of Professional Photographers (BIPP)
http://www.bipp.com
Bureau of Freelance Photographers (BFP)
http://www.thebfp.com
Editorial Photographers UK (EPUK)
http://www.epuk.org
British Association of Picture Libraries and
Agencies (BAPLA)
http://www.bapla.org.uk/
Graphic Design
Design and Art Direction
http://www.dandad.org/
American Institute of Graphic Arts
http://www.aiga.org/
International Society of Typographic designers
http://www.istd.org.uk/
International Council of Communication Design
http://www.icograda.org/
Illustration
Association of Illustrators
http://www.theaoi.com/
House of Illustration
http://www.houseofillustration.org.uk/
16
WHAT CAREER OPPORTUNITIES ARE OPEN TO ME IF I STUDY THE
MA VISUAL COMMUNICATION?
We aim to ensure that when MAVC students leave the programme, they have a work
practice that is robust, full of professional level potential and clearly focussed on their
career path. Their portfolio will contain work that is conceptually coherent, practically
accomplished and professionally produced and they will feel confident enough to
carry themselves through initial contact and interviews and into working relationships
with clients and employers.
It is our responsibility to ensure that students attend to each aspect of their
professional profile and that they are supported in doing so. We therefore encourage
an outward facing approach from the outset. Students will be encouraged to use the
university careers service (link below), supported in arranging work experience or
placements and fostering the resulting working relationships. As a team we will share
links to professional networks and contacts that we have access to and seek new
links where there is a call for them. In addition we will use school field trips to London
and other national cities and the yearly international visit to Iceland* to propagate
new links and opportunities.
*Field trips and international study visits are optional and therefore subject to
sufficient student participation. They will incur extra charges. Details of the field trip to
Iceland will be available upon enrolment.
http://artdesign.bathspa.ac.uk/news/
http://www.bathspa.ac.uk/study-with-us/developing-your-career
As our students shape their individual career paths into the ever-changing world of
visual communication, they may consider many popular and competitively sought
after routes. As MAVC post graduates, we will do our best to ensure that they have
carefully edited and considered, high quality portfolios of professional level work and
the confidence to successfully present them in:
•
Self-employed Photography / Graphic Design / Illustration within the media
including general and specialist journalism. Work for design agencies,
architectural or engineering practices, or other specialist consultants, or work on
research projects in conjunction with fine artists, or scientists
•
In-house jobs for designers / illustrators / photographers; as staff in design
agencies, publishing houses, picture libraries or publishers
•
Above and below the line design in the Broadcast Media Industry
•
Specialist teaching jobs, or as visiting professionals, or contracted staff in
schools, or further and higher education colleges and universities
•
Academic careers in a further or higher education institutions
WORK EXPERIENCE/PLACEMENT OPPORTUNITIES
The studio culture approach of the MAVC will help to prepare students for a career in
the Creative Industries. As part of this learning, we expect our students to be active
in gaining work-based experience in addition to the learning opportunities relating to
employability throughout the course. Please speak with your tutor or Programme
Leader about internships and look out for the opportunities both on the School
website and the Careers website:
http://artdesign.bathspa.ac.uk/news/
http://www.bathspa.ac.uk/study-with-us/developing-your-career
17
ADDED VALUE
•
Extensive personal support from a friendly and caring staff
•
A good practical and theoretical education
•
Extensive Bath Spa University workshop facilities
•
Availability of careers advice and support
•
Opportunities for field trips and international visits
TEACHING QUALITY
HOW WE ASSURE THE QUALITY OF THE COURSE
Before the course started, a process of course approval took place, which included
consultation with academic and industry subject experts. The following was checked:
•
There would be enough qualified staff to teach the course
•
Adequate resources would be in place
•
Overall aims and objectives are appropriate
•
Content of the course meets requirements of Quality Assurance Agency for
Higher Education and European Standards and Guidelines*
•
The course maps to subject benchmark statements
•
The course meets any professional/statutory body requirements
•
Internal quality criteria, such as admissions policy, teaching, learning and
assessment strategy and student support mechanisms.
*The framework for higher education qualifications in England Wales and Northern
Ireland August 2008 available to download from:
http://www.qaa.ac.uk/publications/informationandguidance/pages/the-frameworkfor-higher-education-qualifications-in-england-wales-and-northern-ireland.aspx
HOW WE MONITOR THE QUALITY OF THIS COURSE
The quality of the course is annual monitored through evaluating:
•
External examiner reports (considering quality and standards)
•
Peer observation of teaching and staff development review
•
University surveys
•
Statistical information, considering issues such as pass rate
•
Student feedback, including module evaluation questionnaires.
The course team use this information to undertake annual monitoring, which, in turn,
is monitored by the University’s Academic Quality and Standards Committee.
Every six years an in-depth periodic review of the subject area is undertaken by a
review panel, which includes at least two external subject (academic and industry)
specialists. The panel considers documents, meets with current/former students and
18
staff before drawing its conclusions. This results in a report highlighting good practice
and identifying areas where action is needed.
CONTACT HOURS
The 30 credit modules have 300 study hours of which 30 hours are contact hours,
the 60 credits final masters module has 600 study hours of which 10 hours are
contact hours. Contact with tutors will be maintained throughout the calendar year
TEACHING SPACE
Along with all other courses within the department, MAVC students will be allocated
dedicated departmental studio space in which to work. Priority workshop booking will
be available at peak times for postgraduate students. Although some teaching will
take place at other university campuses, most activity will be concentrated at Sion
Hill, where the course will be based. On this campus there are dedicated Apple
computer suites with up to date design and imaging software and digital print
facilities with a range of wide format printers. In addition there is a newly refurbished
black and white darkroom, two photographic studios, an etching & lithography and a
screen-printing workshop.
For those that need them in the course of creating exhibitions and presentations, the
metal work, plastics and woodwork shops will also be available. Each of the
specialist workshops are staffed by technicians and technical demonstrators, who
between them cover inductions and instruction in each specialist area. Students on
the MAVC will have access to any, or all of these facilities by negotiation with these
technical staff, however access to workshops will be restricted during holiday
periods, particularly during the summer recess. Timetables for technical staff and
workshop opening times will be available in the module handbooks
HOW WE SUPPORT YOU
The department operates as a studio based culture and we support personal
developing planning and deliver personal tutoring in a variety of ways to enhance
your progress. Refer to your module handbooks to understand the delivery of these
activities. During induction, at the start of each academic year the staff team provide
you with a list of staff contact details and general information such as studio and
workshop times, tutorial scheduling, loans systems and departmental procedures for
alerting the team in the event of lateness or absence.
•
Personal tutoring
•
Personal development planning
•
Student Services
•
Writing and Learning Centre
However, if you are unsure a about a course procedure or how to find information,
please contact the course administrator Emmanuelle Ginn, e.ginn@bathspa.ac.uk,
01225 875228.
DEPARTMENTAL BOARDS AND STAFF-STUDENT COMMITTEES
This course has a course committee comprising all relevant teaching staff, student
representatives and others who make a contribution towards the effective operation
19
of the course (for example library and technical staff). The committee has
responsibilities for the quality of the course and plays a critical role in the University’s
quality assurance procedures.
THE ROLE OF EXTERNAL EXAMINERS
The standard of this course is monitored by an external examiner. You will be given
the name of this year’s external examiner, before the beginning of the second
trimester of the course.
The external examiner will be have two primary responsibilities:
•
To ensure the standard of the course;
•
To ensure that justice is done to students.
LISTENING TO THE VIEWS OF STUDENTS
The following methods for gaining student feedback are used on this course:
•
Module evaluations
•
Staff-Student Committees
•
Student representation on departmental board committees
•
Personal tutor, module leader
Students are notified of the action taken through:
•
Email
•
Minerva announcements
•
Announcements in lectures or course meetings
•
Tutor feedback
•
Departmental board committees
•
Annual reports
LISTENING TO THE VIEWS OF OTHERS
The following methods are used for gaining the views of other interested parties:
•
Feedback from former students
•
Liaison with employers and industry representatives
•
Liaison with sector skills, design and craft councils
•
Liaison with external examiner
20
USEFUL AND IMPORTANT HYPERLINKS
http://www.bathspa.ac.uk/regulations/academic-regulations
http://www.bathspa.ac.uk/service/student-services/current
course/guide-for-student-assessment/
-student/your-
http://www.bathspa.ac.uk/regulations/student-general-regulations/
http://www.bathspa.ac.uk/regulations/specialised-course-regulations/
http://www.bathspa.ac.uk/services/library/InfoSkills/
http://www.bathspa.ac.uk/services/student-services/policies/unfair-practice.asp
http://www.bathspa.ac.uk/about/profiles
http://www.bathspa.ac.uk/careers
http://www.bathspa.ac.uk/services/student-support/
http://www.bathspa.ac.uk/services/health-and-safety/
https://wiki.bathspa.ac.uk/display/computing/Office+365+Student+Information
https://wiki.bathspa.ac.uk/display/computing/Ricoh+print%2C+copy%2C+scan+servi
ce+for+STUDENTS+-+FAQ
LIBRARY AND LEARNING SERVICES
There is a specialist art and design Library at Sion Hill which is open in term-time
from 8.45 am to 7 pm, Monday to Friday, and 1 pm to 5 pm at weekends. There are
quiet and group study facilities available. Whichever campus you study on you will
have access to the University Library at Newton Park which is open from 8 am to
midnight, Monday to Friday, and 9 am to 8 pm at weekends. The Library at Corsham
Court serves the needs of postgraduate students and researchers. All these facilities
are further supplemented by more collaborative spaces, bookable pods and quiet
study rooms in the Learning Commons which are available 24/7.
In addition to print books, the Libraries provide a range of DVDs and CDs, and a
wealth of electronic resources, including over 4,000 e-books and around 20,000
academic e-journals. Key texts and journal articles are increasingly available in eformat, to ensure you have 24/7 access to them.
Your course is supported by a dedicated Subject Librarian with subject knowledge in
your area. They provide training with online library resources and can offer advice
with your research. You can also register with the SCONUL Access scheme, which
enables you to use other UK academic libraries.
For further information, including access to the catalogue, opening times and contact
details, please see the Library website.
WRITING AND LEARNING CENTRE
The Writing and Learning Centre (WLC) is based at Newton Park Library but its
services are available to all students. WLC staff can assist with academic writing,
referencing, time management and critical thinking to help you reach your full
potential during your degree. Appointments with them are available at Sion Hill and
Corsham Court: see the web pages for details of times and places.
Students with dyslexia or other specific learning needs are welcome to use the WLC
but should also contact Student Support.
21
22
STAFF PROFILES
The following BSU staff will be contributing to the Programme. Full profiles are
available from staff CVs available in the University intranet. These staff will be
supported by an extensive list of part time staff with a wide range of expertise and
practical expertise.
Dr Graham McLaren is Head of the Department of Design and Critical Studies
at Bath School of Art and Design and also leads research activity in the School. He is
a design theorist and historian with a specialist interest in the ethics of art and
design. He has written and lectured widely nationally and internationally. He is an
active member of the Royal Photographic Society, the Design Research Society and
the Design History Society.
Andrew Southall is a photographer and artist with many years experience in
architectural photography, working for a range of national and international clients
including architects, engineers and magazines, as well as producing photography
and sculpture for exhibition. He has a Masters degree in Fine Art, and a BA in
Photography. He is the MAVC Program Leader and contributes to the undergraduate
photography, MFA and BA fine art courses.
Stuart Henley is a graphic designer, Principal Lecturer and course leader of
the Graphic Communication BA , he received an MFA in Graphic Design from Yale
University in 1996. His graphic design has been recognized by the American Institute
of Graphic Arts, both nationally and regionally in the United States. He has taught
design at the University of Massachusetts, University of Hawaii, State University of
New York, Parsons School of Design New York and University of the Arts London.
His research typically investigates environmental, social and urban issues.
Tim Vyner is an illustrator, artist and graduate of the Royal College of Art. Tim
specialises in reportage, drawing, painting and printmaking for national and
international publishers, galleries and collectors. He has recorded global sporting
events including The FIFA World Cup and The Olympic Games and has exhibited his
work widely. He is the subject leader for illustration and a senior lecturer on the
undergraduate Graphic Communication course
Interested in discovering more about a member of staff? Go to:
http://www.bathspa.ac.uk/about/profiles
23
EQUALITY OF OPPORTUNITY
We want to ensure that your needs are met. If you require this information in any
other format, please contact:
Student Support Services
Tel: 01225 876215
Email: stusupportadmin@bathspa.ac.uk
Bath Spa University welcomes diversity amongst its students, staff and visitors,
recognising the contributions that can be made by individuals from a wide range of
backgrounds and experiences.
Our aim is that all staff and students, both existing and potential, should receive
equal and fair treatment in all aspects of University life. The University seeks to
ensure that a suitable working and studying environment is provided which is free
from discrimination and where all members of the University community are treated
with dignity and respect and are valued as individuals.
The Student Handbook is designed to provide you with a central point of reference,
containing detailed information concerning your course. We want to ensure that the
needs of all students are met in every aspect of every course that we offer.
A key way in which we ensure this is to monitor student feedback on each academic
module undertaken. The results of this provide us with essential information on our
progress to ensuring equality of access and opportunity for all students.
Should you have any concerns at any time regarding your course, any of the
information contained within this Handbook, or any other aspect of University life, you
should discuss this in the first instance with Emmanuelle Ginn,
e.ginn@bathspa.ac.uk, 01225 875228. who will assist you in identifying the types of
support available to you. Examples of these types of support are:
•
Arranging appropriate teaching and examination arrangements;
•
Assisting you with any concerns you may have regarding any work experience
you may undertake;
•
Helping you to identify technology and other support appropriate to individual
needs;
•
Liaising with members of academic staff in relation to access to the curriculum.
There are also a range of support mechanisms offered by Bath Spa University, such
as Student Welfare Services and Careers Advice. For example:
•
Assisting with the provision of scribes, readers, note takers or interpreters;
•
Assisting you with applications for financial assistance;
Details of how to access these services can be found at:
http://www.bathspa.ac.uk/services/student-services/current-students/studentsupport-service/
24
EQUAL OPPORTUNITIES POLICY
The following provides information concerning the Bath Spa University Equal
Opportunities Policy. Please take the time to familiarise yourself with it as it is
relevant to everybody.
BATH
SPA
STATEMENT
UNIVERSITY
EQUAL
OPPORTUNITIES
POLICY
Bath Spa University is fully committed to being an equal opportunities employer and
providing equality of opportunity for all its staff and students, applicants and visitors.
The University will not tolerate unfair or unlawful discrimination on the grounds of
gender, ethnicity, colour, disability, religion, nationality, age, occupation, marital
status or sexual orientation or any distinction, which is not relevant to the
employee/employer relationship or its student body.
RESPONSIBILITIES
Promoting and maintaining equal opportunities is the responsibility of everyone,
although it is recognised that management have additional responsibilities to ensure
that the policy is carried out.
The University Management will ensure that:
•
All staff and students are aware of the equal opportunities policy and our
procedures for making a complaint;
•
The implementation of equal opportunities is effectively monitored;
•
An Equal Opportunities Strategy and Action Plan is produced and reviewed;
Staff, Students and Union representatives are provided with appropriate forums
to discuss and deal with equal opportunities issues;
•
All staff are provided with appropriate equal opportunities training;
•
A network of trained Harassment Advisors is available to provide advice and
guidance;
•
Procedures are in place for the fair appointment, promotion and development of
staff, the fair selection and teaching of students, free from unjustifiable
discrimination.
All staff and students are expected to:
•
Support and implement the equal opportunities policy; and
•
Ensure that their behaviour and/or actions do not amount to discrimination or
harassment.
Staff and students of the University are expected to comply with this policy and are
expected to promote a culture free of unfair discrimination, prejudice and all forms of
harassment and bullying. Any incidents of discrimination, harassment or bullying will
be investigated and may be grounds for dismissal or expulsion.
25
26
MODULE DESCRIPTORS FOR THE COURSE
Please read these in conjunction with Course Diagram on page 5
Code
AR7001-30:
Title
Research Methodologies
Subject area
Art and Design
Level
7
Credits
30
ECTS*
15
Contact time
30 hours (270 hours additional independent study
time)
Acceptable for
All Art and Design Postgraduate Subject Pathways
Excluded combinations
None
Core/Optional
Core
Module Coordinator
Dr Graham McLaren
Description
This module is an introduction to research methods and is delivered as a common
programme involving students across the postgraduate community at Bath School of
Art and Design. The module introduces key principles and processes of research,
which are relevant to the study and practice of art and design. The module is
intended as an introduction to the identification and use of research resources, and
the general development of research related skills.
Outline Syllabus & Teaching & Learning Methods
27
Outline Syllabus
•Library as research tool
•Blogging as research tool
•Museum and gallery based research methods
•Research ethics
•Quantitative and qualitative analysis
•Meanings in Visual culture
•Oral histories
•Value/hierarchies
•Presentation skills
The syllabus is delivered via lectures, seminars, workshops and tutorials. VLE
students will receive seminar texts, group discussions and on-line tutorials. VLE
students who are producing ceramic work, will be expected to submit images and
text for on-line feedback from tutors and peers, at regular intervals during the
module.
Intended Learning Outcomes
i.
ii.
iii.
How assessed **
An awareness of a range of research methods and
resources, and the ability to be able to use these
appropriately
Portfolio
An ability to develop and present a research proposal to
guide individual practice or projects
Written Proposal
An understanding of the role of research in academic
study and postgraduate level practice.
Written Proposal
Assessment Scheme
Written
Assignment
Oral presentation
Oral presentation
Weighting %
28
Formative:
•
Leading on responses to preparatory reading for
workshop and seminar sessions
•
Ongoing development of research folder/blog
•
Interaction with tutors in studio and critical studies areas.
Summative:
(a) an oral presentation of research aims and a future plan and
summary timetable for your research on the course (15 minutes).
The presentation will be delivered to two tutors and a group of
your postgraduate peers. You will provide tutors with a written
copy of your notes for the presentation subsequent to delivering
it.
50%
(b) a written assignment (of no more than 1,500 words) that
explores appropriate research methodologies - in support of your 50%
stated research aims. This will be accompanied by a research
folder - in the form of a folder or an electronic blog – that provides
examples of the kind of resources that you have consulted in the
process of research. This should include an annotated
bibliography (ie. a list of all sources that you have consulted in the
process of research, which includes a brief note after each
resource about how it will assist your project).
Reading Lists/Key Texts & Websites
29
Adamson, Glenn. (2007). Thinking Through Craft. London: Berg
(Eds.) Harrison, C. & Wood, P. (2002). Art in Theory: 1900 – 2000; an
anthology of changing ideas. London: Blackwell
Press.
Gray, C and Malins, J (2004) Vizualizing Research: A Guide to the Research
Process in Art and Design London: Ashgate
(Ed.) Highmore, B. (2009). The Design Culture Reader.
London: Routledge.
Kawamura, Y (2011) Doing Research in Fashion and Dress: An introduction
to qualitative methods London: Berg
Lupton, E. & Miller, J. (1999). Design, Writing, Research.
London: Phaidon Press.
(Eds) Sandino, L and Partington M (2013) Oral History in the Visual Arts
London: Bloomsbury
Strinati, D. (1995). An Introduction to Theories of
Popular Culture.
London: Routledge.
Sturken, M. & Cartwright, L. (2001). Practices of Looking.
Oxford: Oxford University Press
Sullivan, G (2009) Art Practice as Research: Inquiry in Visual Arts London:
Sage
(eds) Verbeke, J and Pak, B (2013) Knowing (by) Designing Brussels: LUCA
Learning Resources
Seminar spaces
Specialist workshops and technical support
Digital workshops
Library
Minerva VLE
Professional lecturer series
Onsite gallery
Bath Spa Careers: http://www.bathspa.ac.uk/careers
* ECTS (European Credit Transfer and Accumulation System): Framework for
Qualifications of the European Higher Education Area recommend that two UK
credits are equivalent to one ECTS credit
30
* * eg examination, presentation, coursework, performance, case study,
etc.
portfolio,
Code
VM7002-30
Title
Developing Practice
Subject area
Visual Communication
Pathway
N/A
Level
7
Credits
30
ECTS*
15
Contact time
30 hours (270 additional independent
Study)
Acceptable for
Visual Communication
Excluded combinations N/A
Core/Optional
Core
Module Co-ordinator
Andrew Southall
Description
31
In this the first of the MAVC practice modules, the aim is to
establish and identify each student’s current position as a
practitioner. It will help individuals identify areas of their practice
that need special attention and to begin to develop and refine the
relationships between theoretical, practical and professional
approaches to their specialism in Photography, Illustration, or
Graphic Design.
Students will devise a practice-based project with a plan that
outlines its aims and objectives. From this they will undertake
primary and secondary research and finally present a visual
communication project in their chosen specialism. The project will
also make reference to the Professional Practice covered in this
module (outlined on page 12 of this handbook).
At the end of the module students will make an audio / visual
presentation, (usually in a digital format) and will submit their
visual communication project along with a folder containing the
initial proposal, ideas, research, process and outputs.
Outline Syllabus & Teaching & Learning Methods
32
The syllabus will normally cover:
• Key critical theories relating to visual arts and visual
communication, and an introduction to the influence of
modernism and postmodernism in the visual arts
• Language and the difficulties inherent in defining terms
• Narrative form and structure
• Pure and applied approaches in Visual Communication
• Investigation into the characteristics of genres; for example
but not limited to: documentary, fashion, industrial,
reportage, portraiture, landscape
• Professional techniques and attitudes to digital content
management / workflow / metadata skills.
Students will consider these topics in relation to their own visual
communication practice
Teaching & Learning Methods
Students will be expected to develop an ongoing discourse with one
another, examining the different perspectives and assumptions that
groups and individuals bring to visual communication projects.
The module will be delivered through seminars, workshops, studio
time and tutorials.
Intended Learning Outcomes
How
assessed**
33
On completion of the module, students will be able
to demonstrate their knowledge and abilities to:
1.Communicate and explain their visual practice
effectively to peer group and to staff from a variety
of Arts specialisation fields;
2.Reflect upon their work, showing critical
awareness of practice in context;
i) ii) iii)
iii)
3.Show how the findings of primary research and
secondary sources can be used to inform the
development of their practice and research
Assessment Scheme
Weighting %
34
Formative:
• Presentation in student-led seminar
• Submission of research folder, as a work in
progress, once prior to final (summative)
submission
Summative:
1. A Research Folder typically including evidence of
the primary and secondary research undertaken and
reflected upon, notebooks, sketchbooks and other
i) 20%
research materials.
2. An Oral / Visual presentation, made in class on
the chosen project topic (10 minutes), leading to
discussion and questions (15 minutes)
ii) 20%
3. A Visual Communication project which might
focus on one or a combination of the following:
• Images
iii) 60%
• Films
• Design layout
• Printed books or magazine publication
• other tutor- negotiated themes and topics.
Reading Lists/Key Texts & Websites
35
Badger, G. (2007) The Genius of Photography. London: Quadrille
Publishing
Barthes, R. (1993). Image Music Text. London: Fontana
Berger, J. (2008). Ways of Seeing. London: Penguin
Bolter, J.D. (2001). Writing Space: computers, hypertext, and the
remediation of print, Mahwah. New Jersey: Lawrence Erlbaum
Associates
Rees, D. (2014) How to be an illustrator (second edition). London:
Laurence King
Wurman, R.S. (2001). Information Anxiety 2. Indianapolis: Que
Zeegan, L. (2012). The fundamentals of Illustration (second
edition). London: Fairchild Books
Indicative reading:
Arnheim, R. (2004). Visual Thinking, Hartley and Marks: University
of California
Blocker, J. (2009). Seeing Witness : Visuality and the ethics of
testimony. Minnesota: University Of Minnesota Press
Heller, S. (2002). The Graphic Design Reader. New York: Allworth
Press,
Jeffery, I. (1981). Photography: A Concise History. London:
Thames and Hudson
Rees, D. (2014). How to be an illustrator (second edition). London:
Laurence King Publishing
Roberts, L. (2007). An Introduction to Ethics in Graphic Design.
London: AVA Publishing
Shaughnessy, A. (2006). How To be a Graphic Designer Without
Losing Your Soul. London: Lawrence King Publishing
Shaughnessy, A. & Brook, T. (2009). Studio Culture: The secret
life of a graphic design studio, London: Lawrence King Publishing
Ware, C. (2001). Jimmy Corrigan: The Smartest Kid on Earth.
London: Jonathan Cape
Warner Marien, M, (2010). Photography : a cultural history.
36
London: Lawrence king
Wells, L. (2004). Photography: A Critical Introduction. London:
Routledge
Zeegen, L. (2012). The Fundamentals Of Illustration, 2nd Ed.
Switzerland: Ava
37
Learning Resources
In this module all students will be offered workshops on digital
content management / workflow and metadata skills.
The need for other learning resources will vary as individual
students develop their MAVC practices. As with all practical MAVC
modules, in this one students will have access to or undertake the
following range of activities:
•
Technical demonstrations in Photoshop; Indesign; illustrator
software illustrator and web design software (where
appropriate)
• Self-directed project working
•
Engagement in using both hand and digital processes (cameras
processing and printing techniques)
• Active participation through seminars and peer learning
• Specialist visiting Lecture series
• Group tutorials and critiques
• Independent study trips and gallery visits (where appropriate)
• Personal presentation, display and documentation of work
• Library
* ECTS (European Credit Transfer and Accumulation System):
Framework for Qualifications of the European Higher Education Area
recommend that two UK credits are equivalent to one ECTS credit
* * eg examination, presentation, coursework, performance, case
study,
portfolio, etc.
38
Code
VM7003-30
Title
Practice in Context
Subject area
Visual Communication
Pathway
N/A
Level
7
Credits
30
ECTS*
15
Contact time
30 hours (270 additional independent
Study)
Acceptable for
Visual Communication
Excluded combinations N/A
Core/Optional
Core
Module Co-ordinator
Tim Vyner
Description
39
The aim of this module is to build on each student’s reflective
experience in Developing Practice and identify clear links between
related visual communication specialisms. Instead of a reflective
focus on individual practice, each student will concentrate on
developing a project designed specifically for a local / national
audience and will develop this project in collaboration with another
student (or where there is a need, another individual or
organisation). The visual communication project made for this
module will work in conjunction with another of the MAVC
specialisms: Photography, Illustration, or Graphic Design.
The manner in which the project is designed for its audience should
be carefully considered, referring to several examples of relevant
(and usually recent) visual communication projects. The project’s
objectives should be clearly evident in the supporting primary and
secondary research.
In developing this project students will identify and refer to relevant
theoretical and critical thinking contained in the module syllabus
and make reference to professional practices covered in this
module.
At the end of the module, students will make an audio / visual
presentation and submit their visual communication project along
with a folder containing analysis of and critical reflection upon the
initial proposal, key ideas, research, development processes,
challenges and outputs.
Outline Syllabus & Teaching & Learning Methods
40
Having established a working understanding of their own practice,
students will use this module to broaden their understanding of
their visual communication practice. They will identify possible
weaknesses in their approach and design a project for a particular
audience – taking into account the implications that cultural,
demographic and other factors may have on this project.
The syllabus will normally cover:
• Concepts of audience, for example variations in age, class,
nationality, gender, geography, culture, religion
• Practices and challenges in relation to specific audiences
• Positioning of the practice in relation to related disciplines
• Visual language and the written / spoken language of
practitioners in different but related disciplines
• Implications of proposed media
• Local and regional needs
• Collaborative working across disciplines
• Commercial skills: copyright and intellectual property rights
Teaching & Learning Methods
Students will be expected to collaborate in their visual
communication project either with MAVC or other post graduate
students, or with an external organisation or individual (with prior
approval by the tutor).
The module will be delivered through a combination of seminars,
workshops, tutorials and a multi-disciplinary studio-based culture,
to support collaboration.
Intended Learning Outcomes
How
assessed**
41
On completion of the module, students will be able
to demonstrate their knowledge and abilities in:
1. Application of a breadth of relevant academic
theories to practice;
i), iii)
ii), iii)
2. Ability to use a range of techniques, including
effective collaboration, applicable to a professional
activity or situation;
ii), iii)
3. Creative and innovative approaches to problemsolving including effective decision making;
4. An understanding of commercial skills enabling a
critical awareness of current issues in the profession.
Assessment Scheme
iii)
Weighting %
42
Formative:
• Submission of research folder, as a work in
progress, once prior to final (summative)
submission
• Project proposal produced through
collaborative working
Summative:
i) Research folder (containing discussion of nature
needs and challenges of visual communication
to/with a particular audience)
ii) An Oral / visual presentation, made in class, on
the chosen project topic (10 minutes), leading to
discussion and questions (15 minutes). Either with
collaborating partner or reflecting collaborative
working with an external group or organisation.
i) 20%
ii) 20%
ii) A resolved visual communication project relevant
to a local audience
iii) 60%
Reading Lists/Key Texts & Websites
43
Hall, A. (2011). Illustration (portfolio). London: Lawrence King
Lister, M. (2005). The Photographic Image in Digital Culture.
Oxford: Psychology Press
McCloud,S. (1994). Understanding Comics: The Invisible Art. New
York: HarperCollins
Munari, B. (2009). Design as Art. London: Penguin
Tagg, J. (1988). The Burden of Representation. Minneapolis:
University of Minnesota Press
Tufte, E. (1990). Envisioning Information. Conneticut: Graphics
Press
Wells, L. (2002). The Photography Reader. London: Routledge
(module handbooks will indicate essays of particular
relevance)
Indicative reading:
Adorno, T. (1991). The Culture Industry: selected essays on mass
culture. London: Routledge
Berona, D. A. (2008). Wordless Books: The Original Graphic
Novels. New York: HNA Books
Dyer, G. (2005). The Ongoing Moment. London: Little, Brown &
Company
Gravett, P. (2005). Graphic Novels: Stories to Change Your Life.
London: Aurum Press Ltd
Hall, A. (2011). Illustration. London: Laurence King Publishing
Heller, S. & Wiedemann, J. (2013). 100 Illustrators. Taschen
,Verlag
Hyland, A. & Bell R. (2003). Hand to Eye: Contemporary
Illustration, London: Lawrence King,
Jobling, P. & Crowley, D. (1996). Graphic Design: Reproduction
and Representation since 1800, Manchester: Manchester University
Press,
Klaten, R. (2011). Contemporary Collage, Germany: Die Gestalten
Verlag
44
Munari, B. (2008). Design As Art. London: Penguin
Pirhonen, A. Isomäki, H. Roast C. Saariluoma, P. (2005) Future
Interaction Design. London: Springer
45
Learning Resources
In this module all students will be offered workshops on copyright
and intellectual property rights
The need for other learning resources will vary as individual
students develop their MAVC practice. As with all practical MAVC
modules, in this students will have access to or undertake the
following range of activities:
•
Technical demonstrations in Photoshop; Indesign; illustrator
and web design software software (where appropriate)
• Self-directed project working
•
Engagement in using both hand and digital processes (cameras
processing and printing techniques)
• Active participation through seminars and peer learning
• Specialist visiting Lecture series
• Group tutorials and critiques
• Independent study trips and gallery visits (where appropriate)
• Personal presentation, display and documentation of work
• Library
* ECTS (European Credit Transfer and Accumulation System):
Framework for Qualifications of the European Higher Education Area
recommend that two UK credits are equivalent to one ECTS credit
* * eg examination, presentation, coursework, performance, case
study,
portfolio, etc.
Code
VM7004-30
Title
Practice in a Global Context
Subject area
Visual Communication
Pathway
N/A
Level
7
46
Credits
30
ECTS*
15
Contact time
30 hours (270 additional independent
Study)
Acceptable for
Visual Communication
Excluded combinations N/A
Core/Optional
Core
Module Co-ordinator
Stuart Henley
Description
In this module students will continue collaborative working, utilising
their improved visual communication specialist skills to design a
project that is focussed toward an international / global audience.
Given the diversity of global audiences, this project will need to take
language differences and varied cultural practices into account, and
find appropriate verbal or non-verbal ways to deal with specific
communication issues.
In the process of developing their project, students will make
reference to the theoretical and critical thinking in the syllabus for
this module in their primary and secondary research and in the final
project. They will also make reference to professional practices
covered in this module.
At the end of the module students will present a 1000 - 1200 word
summative critique of the project, its strengths and weaknesses,
along with the finished visual communication project.
Outline Syllabus & Teaching & Learning Methods
47
Adding to the understanding of their own practice, students will
formulate a clear structured approach to their visual communication
project. Bringing the knowledge gained from the previous modules,
they will design a project for a particular audience, which may be
directed toward a particular international community or interest
group – carefully considering the implications that a variation in
international factors may have on the project.
The syllabus will normally cover:
• Implications of international legislative contexts
• Technical challenges, including different media and online
platforms, and how these might be addressed
• Political and cultural sensitivities around the world
• Global legibility
• Implications of rapidly changing global contexts for practice
and visual communication
• Commercial skills: contracts, commissioning, negotiation, self
promotion
Teaching and Learning Methods
Collaborative working across disciplines.
Applied research to practice – students will be expected to be
largely independent in identifying relevant primary and secondary
sources specific to the project that they pursue.
Tutorials, studio environment.
Intended Learning Outcomes
How
assessed**
48
On completion of the module, students will be
able to demonstrate an:
• Ability to identify visual communication
opportunities and devise an appropriate
project for a specialised international context
• Effective application of their research to
professional practice in a global context
• Ability to make decisions in challenging
situations
Assessment Scheme
i), ii)
i), ii)
ii), iii)
Weighting %
Formative:
Pitch-style presentation of project for a global
audience
Summative:
20%
i) Research folder (showing an understanding of how
particular audiences can exist across international
boundaries and the challenges that such global
contexts might produce)
ii) A 1,500 word critique of the project
20%
ii) A resolved visual communication project relevant
to a clearly identified international audience
60%
Reading Lists/Key Texts & Websites
49
Bierut, M. Drenttel, W. Heller, S. Holland, D.K. (1994) Looking
closer, critical writings on graphic design, New York: Allworth Press
Bordieu, P. (1996) Photography the middle-brow art, Redwood
City: Stanford University Press
Davies, J. Brazell, D. (2013) Becoming a Successful Illustrator
Kelsey, R. (2008) The meaning of photography, Williamstown, The
Clarke Institute
(module handbooks will indicate essays of particular
relevance:)
Martens, K. & Van Triest, J. (2010) Printed Matter, London:
Hyphen Press
Potter, N. (2002) What is a designer?: things, places, messages.
London: Hypen Press
Ritchen, F (2010) In Our Own Image, New York: Aperture
Zeegan, l. (2014) 50 years of Illustration. London: Lawrence King
Indicative reading:
Azoulay, A. (2012), The civil contract of photography, New York:
Zone Books
Jeffrey, Ian. (1999): ReVisions: an alternative history of
photography. Bradford: National Museum of Photography, Film and
Television
Roberts, J.C. (1988) The art of interruption: realism, photography,
and the everyday. Manchester: Manchester Univeristy Press
Seely-Brown, J. Duguid ,P. (2000) The Social Life of Information.
Boston: Harvard Business Review Press
Tufte, E. (2007) Beautiful Evidence, Connecticut, Graphics Press
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51
Learning Resources
Resources
In this module all students will be offered workshops on:
Commercial skills comprising of contracts, commissioning,
negotiation and self-promotion.
The need for other learning resources will vary as individual
students develop their MAVC practice. As with all practical MAVC
modules, in this module you will have access to the following range
of activities:
•
Technical demonstrations in Photoshop; Indesign; illustrator
and web design software (where appropriate)
• Self-directed project work
Engagement in using both hand and digital processes (cameras
processing and printing techniques)
• Active participation through seminars and peer learning
• Specialist visiting Lecture series
• Group tutorials and critiques
• Independent study trips and gallery visits (where appropriate)
• Personal presentation, display and documentation of work
• Library
• Minerva VLE
• Onsite gallery
Bath Spa Careers: http://www.bathspa.ac.uk/careers
* ECTS (European Credit Transfer and Accumulation System):
Framework for Qualifications of the European Higher Education Area
recommend that two UK credits are equivalent to one ECTS credit
* * eg examination, presentation, coursework, performance, case
study,
portfolio, etc.
52
Code
AR7007-60
Title
Masters Project
Subject area
All MA Design students
Module Co-ordinator
Kerry Curtis
Level
7
Credits
60
ECTS
30
Contact time
10 hours (590 additional independent
study time)
Pre-requisites
All modules at Certificate and Diploma
Levels
Acceptable for
All MA Design students
Excluded combinations N/A
Core/Optional
Core for all MA Design students
Description
53
This final masters 60-credit module aims for you to demonstrate
your intellectual and autonomous progress in establishing a
professional creative practice.
For this module you will undertake an independent line of enquiry,
constructing a self-directed project brief, which communicates a
positioning of your work within the specialist discipline of your
practice.
Your practice should demonstrate your ability to apply your
understanding of the profession, research methods, design process,
high-level techniques and/or products to create an original body of
work.
You are required to construct a reflective evaluation of your creative
practice, which describes your work in relation to the professional
discipline and/or research in the field. The evaluation should
highlight your knowledge, a critical awareness of relevant current
concerns, your methodologies and your advanced skills.
The module culminates in a public exhibition (or approved
equivalent as negotiated with your tutor). The work exposed should
easily communicate your concept, enquiries and outcomes to both
specialist and non-specialist audiences.
Outline Syllabus & Teaching & Learning Methods
54
Outline syllabus
Students will construct an ambitious long-study project brief which
demonstrates their ability to work as an independent professional in
their field. Within the masters project brief, the student must
define the aims, so that they can achieve the quality descriptors for
a higher education qualification at level 7.
Studio space and/or seminar spaces and specialist workshop
facilities will provide the environment for planning and
implementing tasks autonomously, however if appropriate to the
individual line of enquiry, students maybe required to work
externally with manufacturers or equivalents to develop work to a
high professional level.
Taught contact time in this module is 10 hours within the total 600
hours study time, this allows students to be independent in dealing
with complex issues and making sound judgements in preparation
for a professional career.
Students will have opportunities to communicate their concepts and
progress to tutors and peers as a process of critical evaluation.
The module handbook provides more specific details on schedules,
assignments, formative feedback and summative assessment for
this module.
Throughout the module you will receive formative feedback through
individual and/or group tutorials, peer seminar sessions and group
critiques. In many cases this feedback is received both verbally and
in a written format. The feedback aims to enable you to see how
you may improve or develop particular aspects of your work.
Practice based students who are taking this module by VLE will be
expected to attend at the assessment point.
Teaching and Learning Methods
• Independent project planning and implementation
• Engagement in appropriate research methods, techniques and
processes
• Progress presentations
• Independent study trips and gallery visits
55
• Personal presentation, display and documentation of work
56
Intended Learning Outcomes
How assessed
On successful completion of the module you will be
able to demonstrate:
Assessment is
based on the
submission
of:
i) acquisition of coherent and detailed knowledge in
your specialist area, leading to a conceptual
understanding that enables you to critically evaluate
your advanced practice in it’s professional context
ii) originality in the application of creative practice
and coherent communication with specialist and
non-specialist audiences, demonstrating evaluative
and systematic research and practical techniques
i). Evaluative
Report
ii). Practical
Coursework
iii) the qualities and transferable skills necessary for
employment and the independent learning ability
required for continuing professional development or
advanced research
Assessment Scheme
Weighting %
57
In your module handbook, you will be informed
about the ways that marks/grades and feedback are
provided by your marking tutor(s) for this module,
and you will receive written feedback on your
learning achievements against the assessment
criteria for your summative module assignment.
You will receive the summative feedback along with
your marks within three weeks of the completed
module submission date.
Assessment Requirements
Refer to your module handbook for details of the
coursework assessment tasks delivering the
intended learning outcomes for this module.
Your performance is assessed against the
assessment tasks weighted below:
i) Evaluative report giving a summary of your
creative practice, demonstrating your knowledge,
methodologies, techniques and ambitions for future
developments. (1,500 - 2,000 words)
i) 10%
ii) A negotiated project, demonstrating your portfolio
ii) 90%
of work for this module and a selection of work
presented as an exhibition, such as the MA Degree
Show or approved equivalent as negotiated with
your tutor. This submission typically includes:
• a personal project brief
• sketchbooks and/or other visual outcomes
• visual research folders (including reflective
annotations)
• technical folders
• reflective and evaluative process (journal, blog
etc.)
58
• experimental prototypes/samples/publications or
other tutor- negotiated outcomes
• resolved and presented products or other tutornegotiated outcomes
59
Reading Lists/Key Texts & Websites
Carmel McNamara and Marlous van Rossum-Willems (2013) Grand
Stand 4 ISBN 978-90-77174-72-2
Carmel McNamara, Sarah de Boer-Schultz and Marlous van
Rossum-Willems (2012) Powershop 3 ISBN 978-90-77174-46-3
www.dezeen.com
Learning Resources
Seminar spaces
Specialist workshops
Digital workshops
Library
Minerva VLE
Professional lecturer series
Onsite gallery
Bath Spa Careers: http://www.bathspa.ac.uk/careers
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63
64
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