Konstfacks bibliotek

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*00142036
*00520170908030834.9
*008170116t20162016gw a          001 0 eng d
*020  $a978-3-95905-081-4 (pbk)
*020  $a3-95905-081-X (pbk)
*035  $a(SE-LIBR)21340531
*035  $a(Ko)49427
*040  $aERL$beng$erda$cERL$dHEBIS$dOCLCO$dTXI$dOCLCF$dTFW$dOCLCO$dOCL$dCAD$dKo
*084  $aEabi$2kssn/8
*24510$aTaking a line for a walk :$bassignments in design education /$cconcieved collaboratively by Nina Paim, Corrine Gisel and Emilia Bergmark ; edited by Nina Palm ; co-edited by Emilia Bergmark.
*250  $aFirst edition.
*300  $a224 pages, 48 pages :$billustrations ;$c26 cm.
*500  $aCover title.
*500  $aIncludes index.
*500  $aSpiral bound.
*500  $a"This publication departed from the exhibtion: Taking a line for a walk: an exhibition about assignments in design education - Moravian Gallery, 19 June - 26 October 2014, 26th International Biennial of Graphic Design Brno 2014" - page 48.
*5050 $tDear reader --$gAssignments in design education.$tYour first assignment /$rPer Andersen and Charlotte Jensen --$tAdam and Eve /$rHansje van Ooijen --$tLooking /$rCorita Kent --$gThe$thuman figure /$rWalter Crane and William Blake Richmond --$gThe$tnude /$rJohannes Itten --$gThe$tcube, the bottle, the boot /$rKurt Hauert --$gThe$thorizon /$rTine Melzer --$tDrawing restraint /$rGuy Meldem --$tAwkward drawings /$rChloé Briggs --$tDrawing form memory /$rJoël Vermot --$tYour brain wants order /$rBruno Lemgruber, after an assignment by Alisa Zamir --$tNothing is the same /$rCorita Kent --$gThe$tleaf translation /$rKurt Hauert --$tOrganic forms /$rBruno Munari --$tGraphokinetics /$rLeonardo Dutra --$tDancing lessons /$rChris Pullman (teaching assistant: Qiung Li) --$tDots /$rPaul Rand and Alvin Eisenman --$tPlaystation /$rGuy Meldem --$tInterpolated shapes /$rHerbert Kapitzki --$tTactile chart /$rLászló Moholgy-Nagy --$gThe$tqualities and kinds of papers /$rFranz Zeier --$tConstructive thinking /$rJosef Albers --$tFrom plane to volume /$rLuiz Antonio de Saboya --$tForm and space /$rMary Vieira --$tProportion /$rAlvin Eisenman --$tAntiprimadonna /$rTomás Maldonado --$tColour square /$rWassily Kandinsky --$tColour scale /$rAnthony Froshaug --$gA$tcolour system /$rJulia Born --$tColour research /$rMatthew Monk --$tInquiry into the phenomenon of colour /$rMichael Renner --$tFarben on demand /$rJames Goggin --$tMoiré /$rGuy Meldem --$tPrinting kit /$rRobin Bagihole, Neil Bassant, Tony Diegen, Mike Robbins, and John Tetley --$tPrinting machine /$rUnknown author --$tPhotogram /$rVladimir Terentyev --$gThe$tegg and the light bulb /$rMax Mathys --$tPhotographic constraint /$rSean Kaye and Jenny West --$tTwenty-six characters /$rRadim Pesko --$tElementary lettering /$rHermann Eidenbenz --$tModular type /$rLaura Meseguer --$tA4 alphabet /$rJoël Vermot --$tType gymnastics /$rDinamo (Johannes Breyer and Fabian Harb) --$tAlphabet catwalk /$rTania Prill --$tSoap type /$rAlessandro Segalini --$tType safari /$rClara Dutilleul, Jules Estèves, and Moonsick Gang --$tZoo letters /$rDavid Bennewith --$gA$tletter from Sancho Panza to his wife /$rJérôme Knebusch --$gA$ttypeface for Beyolu /$rSadik Karamustafa with Umut Suduak --$gThe$tthings between love and hate /$rLaurenz Brunner and Radim Pesko --$tTransform each letter of the alphabet into the next /$rHans-Rudolf Lutz --$tCollaborative type design /$rLoraine Furter and Eric Schrijver, on invitation of Ellen Lupton --$tCollaborative alphabet /$rMoniker (Luna Maurer, Jonathan Puckey and Roel Wouters) --$tHuman algorithm /$rNeil Donnelly and Caspar Lam --$gThe$tperfect human /$rHenk Groenendijk --$gThe$tfanzine factory /$rJo©±l Vermot --$tCircuit training /$rChristine Correll and Rebecca Stephany --$tRiso ping-pong /$rSean Kelvin Khoo, Nicole Ong, and Kong Wen Da Gideon --$tI'm a manic, maniac /$rInes Cox --$tTypographic quote /$rOnur Yaz♯łc♯łgil --$tBroadside quote /$rPaul Shaw --$tOne type one size one format  /$rHans-Rudolf Lutz --
*50500$tDear reader --$gAssignments in design education.$tYour first assignment /$rPer Andersen and Charlotte Jensen --$tAdam and Eve /$rHansje van Ooijen --$tLooking /$rCorita Kent --$gThe$thuman figure /$rWalter Crane and William Blake Richmond --$gThe$tnude /$rJohannes Itten --$gThe$tcube, the bottle, the boot /$rKurt Hauert --$gThe$thorizon /$rTine Melzer --$tDrawing restraint /$rGuy Meldem --$tAwkward drawings /$rChloé Briggs --$tDrawing form memory /$rJoël Vermot --$tYour brain wants order /$rBruno Lemgruber, after an assignment by Alisa Zamir --$tNothing is the same /$rCorita Kent --$gThe$tleaf translation /$rKurt Hauert --$tOrganic forms /$rBruno Munari --$tGraphokinetics /$rLeonardo Dutra --$tDancing lessons /$rChris Pullman (teaching assistant: Qiung Li) --$tDots /$rPaul Rand and Alvin Eisenman --$tPlaystation /$rGuy Meldem --$tInterpolated shapes /$rHerbert Kapitzki --$tTactile chart /$rLászló Moholgy-Nagy --$gThe$tqualities and kinds of papers /$rFranz Zeier --$tConstructive thinking /$rJosef Albers --$tFrom plane to volume /$rLuiz Antonio de Saboya --$tForm and space /$rMary Vieira --$tProportion /$rAlvin Eisenman --$tAntiprimadonna /$rTomás Maldonado --$tColour square /$rWassily Kandinsky --$tColour scale /$rAnthony Froshaug --$gA$tcolour system /$rJulia Born --$tColour research /$rMatthew Monk --$tInquiry into the phenomenon of colour /$rMichael Renner --$tFarben on demand /$rJames Goggin --$tMoiré /$rGuy Meldem --$tPrinting kit /$rRobin Bagihole, Neil Bassant, Tony Diegen, Mike Robbins, and John Tetley --$tPrinting machine /$rUnknown author --$tPhotogram /$rVladimir Terentyev --$gThe$tegg and the light bulb /$rMax Mathys --$tPhotographic constraint /$rSean Kaye and Jenny West --$tTwenty-six characters /$rRadim Pesko --$tElementary lettering /$rHermann Eidenbenz --$tModular type /$rLaura Meseguer --$tA4 alphabet /$rJoël Vermot --$tType gymnastics /$rDinamo (Johannes Breyer and Fabian Harb) --$tAlphabet catwalk /$rTania Prill --$tSoap type /$rAlessandro Segalini --$tType safari /$rClara Dutilleul, Jules Estèves, and Moonsick Gang --$tZoo letters /$rDavid Bennewith --$gA$tletter from Sancho Panza to his wife /$rJérôme Knebusch --$gA$ttypeface for Beyoğlu /$rSadik Karamustafa with Umut Suduak --$gThe$tthings between love and hate /$rLaurenz Brunner and Radim Pesko --$tTransform each letter of the alphabet into the next /$rHans-Rudolf Lutz --$tCollaborative type design /$rLoraine Furter and Eric Schrijver, on invitation of Ellen Lupton --$tCollaborative alphabet /$rMoniker (Luna Maurer, Jonathan Puckey and Roel Wouters) --$tHuman algorithm /$rNeil Donnelly and Caspar Lam --$gThe$tperfect human /$rHenk Groenendijk --$gThe$tfanzine factory /$rJoël Vermot --$tCircuit training /$rChristine Correll and Rebecca Stephany --$tRiso ping-pong /$rSean Kelvin Khoo, Nicole Ong, and Kong Wen Da Gideon --$tI'm a manic, maniac /$rInes Cox --$tTypographic quote /$rOnur Yazızıgil --$tBroadside quote /$rPaul Shaw --$tOne type one size one format  /$rHans-Rudolf Lutz --
*50500$tTypographic hierarchy /$rTony Pritchard --$tTypographic Notes --$tTypesetting review /$rJamie Steane and Jamie Curle --$tTypographic dictionary /$rMichelle Nelson --$tTypefaces (About) /$rSam de Groot --$gA$tnew skill /$rYotam Hadar --$tDigital craftsmanship /$rChris Ro --$tDesign manual /$rNicole Udry --$tFree project /$rDavid Keshavjee and Guy Meldem --$tUseless /$rMikk Heinsoo --$tIntroduction to visual semantics /$rGui Bonsiepe --$tVisual semantics /$rPaul Rand --$tSemiotics /$rChae Ho Lee --$tForm and meaning /$rInge Druckrey --$tSensations /$rEva Moulaert, Renata Venhorenbeeck, and Joris Verdoodt --$tDesign with a smile /$rKrasimira Drumeva --$tFor a rainy day... /$rHenrik Birkvig --$tAirline logotype /$rPhilip Burton --$tGood things always come in twos /$rDiego Bontognali and Guillaume Chuard --$gA$tbird in the hand is worth two in the bush /$rRebecca and Mike --$tStory in pictures /$rHerbert Bayer --$tTrain of thought /$rHazel Rattigan --$tUntold narrative /$rMarcus Leis Allion --$tVisual narrative /$rIzzy Berenson --$gThe$tdemonstration /$rPhoto staff --$t"If it bleeds, it leads" /$rFloor Koomen --$tScore /$rThomas Ockerse --$tElevator pitch /$rBrad Tober --$gA$tbrief summary of Christopher Booker's "The Seven Basic Plots" --$tIt happened one night /$rBrice Domingues --$tCut /$rManuel Alcala --$gThe$tend /$rMikk Heinsoo --$tTranslation /$rDavid Blamey and Sara de Bondt --$tTranslation /$rLise Hansen --$tPoint zero /$rAnni Albers --$tYour speculative self /$rJoseph DeLappe --$tArcturus IV /$rJohn Arnold --$gAn$rideal object /$rJames Langdon --$gThe$thoax /$rFrank Culshaw --$tCrime scene /$rJoshua Trees --$tForgery /$rL©♭o Carbonnet --$tPortraits /$rFan Wu --$tTypographic portrait /$rGeorgios D. Matthiopoulos --$tGraphic portrait /$rVincent Perrottet --$tSelf-portrait /$rBob Gill --$tSeries of self-portraits /$rTheodor Liho and Svetlin Balezdrov --$tIdentity /$rMikk Heinsoo --$tIdentity /$rAlvin Eisenman --$tBecoming the other /$rJOFF and Julia Born --$tUnknown-knowns /$rLise Hansen --$tPersonal narrative diagram poster /$rKatherine McCoy --$tMemoir /$rElizabeth Resnick --$tPoster warm-up /$rInes Cox --$tPoster problem /$rKohei Sugiura --$tWelcome /$rGeoff Fowle --$tSurprise /$rNeil McGuire --$tReading looking /$rLise Hansen --$tInteractive reading /$rAmy Papaelias --$tStories as networks /$rNeil Donnelly and Caspar Lam --$gThe$ttotal library /$rExperimental Jetset --$tLibrary of formats /$rwork-form --$gThe$tformat that wants to spread /$rMoniker (Luna Maurer, Jonathan Puckey, and Roel Wouters) --$tCookbook /$rPaul Shaw --$tWallpaper /$rWalter Crane --$tCurrency /$rChae Ho Lee --$tFlag /$rRebecca and Mike --$tPackaging /$rAudra Buck-Coleman --$tMarketing /$rAudra Buck-Coleman --$tShopping bag /$rNeil Donnelly and Andrew Shurtz (after an assignment by Gerry Beegan) --
*50500$tKaraoke /$rEuropa --$tRender all text and image information of a newspaper's front page in black /$rHans-Rudolf Lutz --$gThe$tdaily me /$rFloor Koomen --$tDaybook /$rMaziar Raein --$tTimecard /$rSamantha Haedrich --$tGraphic representation of time /$rGreer Allen, Alvin Eisenman, and Jane Greenfield --$gA$tmoment in time... /$rCatherine Dixon --$tWay-finding /$rMarcus Leis Allion --$tPush/pull pictogram /$rMijksenaar --$tSignalism  /$rExperimental Jetset --$tCartographism /$rExperimental Jetset --$tPublic notice /$rŽiga Testen --$gThe$ttable /$rJulie Peeters --$tOrdering /$rAnthony Froshaug --$tWhat is part of this object? What is this object part of? /$rJames Langdon --$tEncyclopaedia /$rJulia Born --$tAtlas /$rVivien Philizot --$tPareidolia /$rCatherine Guiral --$tMeaning in multiples /$rCaspar Lam and Yu June Park --$tWunderkammer /$rJef Cuypers, Jan Hespeel, and Peter van de Cotte --$tMuseum of imaginary design museums /$rMartin Conrads and Franziska Morlok --$tExhibition about exhibitions /$rJon Sueda --$tBooks about books /$rLaurenz Brunner --$tFiction and its context /$rSandra Chamaret --$tReprint /$rJulian Bittiner --$tWe might have been born yesterday, but we stayed up all night /$rSam de Groot --$tTo learn how to find, one must first learn how to hide /$rOlivier Lebrun --$tFree operations /$rOpen Source Publishing --$tNew models of journalism /$rFloor Koomen --$gThe$tbook of NOZ /$rDavid Bennewith --$tPost-digital is better /$rMartin Conrads and Franziska Morlok --$tLibrary-as-machine /$rMartin Conrads and Franziska Morlok --$tThe most..........books /$rCharlotte Cheetham --$tBuchmesse /$rGeoff and Lars Fischer --$tChannel /$rEuropa and Peter Nencini --$tDo /$rwork-form --$rRespond /$rDaniel Eatock --$tHauntology /$rMark Owens --$tThat joke isn't funny anymore /$rSam de Groot --$gThe$toffice of Professor Boris Jirků /$rPeter Babák --$tIndependent graphic design project /$rAlvin Eisenman and Chris Meyers --$tExtracurricular activity /$rPrem Krishnamurthy and Adam Michaels --$tLive projects /$rPaul Bailey, Joanna Choukeir, Darren Raven, and Catherine Smith --$tWork work work /$rJoshua Trees and Yvan Martinez --$tIt's showtime /$rMichael Bussaer, Didier Deschrijver, and Inge Ketelers --$tCultural interfaces /$rTeaching staff-Note 175 --$tSustainable information /$rJoshua Trees--$t"Nothing to do with me, mate-I'm just a designer" /$rGeoff Fowle --$tAdvocacy awareness /$rElizabeth Resnick --$tContraception /$rLuiza Prado --$tDomestic violence /$rAlice Twemlow --$tConnecting/interacting /$rJessica Barness --$tTogether/apart /$rDarryl Lim, with input from Neil McGuire and Colin Faulks --$tUnfair labour /$rGustavo Morainslie --
*50500$tAn hour, a month, a year /$rBrave New Alps (Bianca Elzenbaumer and Fabio Franz) --$tEight hours /$rBob Gill --$tTrust me, I'm a designer /$rMaziar Raein --$tStrategies of the invisible /$tIndeed /$rPaula-Marie Kanefendt and David Voss --$tDesign without /$rDavid Blamey, Neville Brody, and Cecilia Wee --$tDesign and death /$rAaron Seymour --$tDesign and memory /$rSimone Mandl --$tDesign and others /$rShane Haseman --$tDesign and place /$rJacqueline Gothe --$tReading and writing the urban landscape /$rAnne Bush --$tLosing one's way /$rJonathan Pierini --$tCulture change /$rChris Ro --$tSketching gender /$rJoanna Rubin Dranger and Johanna Lewengard --$tOral history /$rChae Ho Lee --$tCreative history /$rDavid Blamey and Sara de Bondt --$tReference library /$rJoanna Rubin Dranger and Johanna Lewengard --$tWhat should design criticism look like? /$rAlice Twemlow --$tGraphic archaeologies /$rOliver Klimpel --$tFuture archaeologies /$rMonsters (Pavel Fric and Michaela Labudova) --$tWriting assignment /$rMarcos Martins --$tMassive content /$rEllen Lupton --$tWhat is graphic design anyway? --$tFeedback sessions /$rJoanna Rubin Dranger and Johanna Lewengard --$gThe$tworst designer I know /$rLeonardo Sonnoli --$tQuestioning design /$rSulki Choi and Min Choi --$tManifesto /$rAlice Twemlow --$t"And to the earth be peace.." /$rCatherine Dixon --$tAntithesis /$rJulia Born --$tAntitheses /$rRob Giampietro --$tTeacher's college /$rRob Giampietro --$tSpeed-teaching /$rOliver Klimpel --$tReally casually arranged /$rBrave New Alps (Bianca Elzenbaumer and Fabio Franz) --$tCollective collection /$rPrem Krishnamurthy --$tNotice /$rSophie Demay and Ken Kirton (Hato) --$tRule the school /$rFloor Koomen --$tRrriot /$rSuzanne Martin --$tIt's called obsession. Can you handle it? /$rKurt Eckert, Alex Hanimann, Matthias Michel, Sarah Owens, and Sereina Rothenberger --$tLe magnifique avventure /$rÅbäke and Yaïr Barelli --$tAssignment to the academy /$rParallel School (Robert Haselbacher, Robert Preusse, Stefanie Rau, and Till Wittwer) --$gThe$tperfect assignment /$rBart de Baets --$gThe$tassignment assignment /$rJulia Born and Floor Koomen --$gThe$tassignment redefined /$rThe editors, after a phone conversation with Bob Gill --$gEpilogue. Chapter 1.$tLost and found --$gChapter 2.$tForm and friction --$gChapter 3.$tAbove and beyond --$gAppendix. Editor's notes -- Index by atuhors -- Index by schools.
*520  $aThis book focuses on the use of language in design education through the lens of the assignment, showcasing close to 300 contemporary and historical assignments ranging from the Renaissance up to the present including Eugene Grasset's Methode de Composition Ornamentale from 1905 and British graphic designer Ken Garland s game Connect created in 1969. This rich document provides an overview of the development and evolving approaches to graphic design instruction.
*599  $aImported from: bonus.newcastle.edu.au:210/INNOPAC (Do not remove)
*650 0$aArt and design.
*650 0$aLanguage and languages.
*650 0$aArt$xStudy and teaching.
*7001 $aPaim, Nina$4edt
*7001 $aGisel, Corrine$4edt
*7001 $aBergmark, Emilia$4edt
*7102 $aMoravsk©Ł galerie v Brn♯,
*852  $5Ko$bKo$hEabi$lTAK
^

Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions. Taking a Line for a Walk brings attention to something that is often neglected: the assignment as a pedagogical element and verbal artefact of design education. This book is a compendium of 224 assignments, edited by Nina Paim and coedited by Emilia Bergmark. A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse. An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within. Taking a Line for a Walk derived from an exhibition of the same name at the International Biennial of Graphic Design Brno 2014.