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GC 101: Schedule

Week 1: The Invention of Writing & Alphabets
Alphabets, The Asian Contribution, Earliest Writing; Egyptian Hieroglyphics; Papyrus and Writing; Cretan Pictographs; Greek Alphabet; Latin Alphabet; Chinese Calligraphy; Invention of Paper; Discovery of Printing

Week 2: The Asian Contribution & Illuminated Manuscripts
German Illustrated Books, The Classical Style; Celtic Book Design; Carolinginan Graphic Renewal; Romanesque & Gothic Manuscripts; European Block Printing; Movable Typography

Week 3: Printing Comes to Europe & The German Illustrated Book
An Epoch of Typographic Genius, Italian Writing Masters; French Innovation; Basel & Lyon Design Centers; The 17th Century; Rococo Graphic Design; Caslon & Baskerville; Origins of Information Graphics

Week 4: Exam 1

Week 5: Renaissance Graphic Design & An Epoch of Typographic Genius
The Arts & Crafts Movement, Innovations in Typography; Wood Type Posters; Mechanization of Typography; Inventors of Photography; Development of Lithography; Century Guild; Kelmscott Press

Week 6: The Industrial Revolution & The Arts and Crafts Movement
Influence of Ukoyo-e; Cheret & Grasset; French Art Nouveau; English Art Nouveau; Innovation in Belgium & the Netherlands; German Jugenstil Movement

Week 7: Art Nouveau & The Genesis of 20th Century Design
Frank Lloyd Wright & the Glasgow School; The Vienna Secession; Peter Behrens & the New Objectivity; The London Underground

Week 8: Midterm Exam

Week 9: The Influence of Modern Art & Pictorial Modernism
Cubism; Futurism; Dada; Surrealism; Expressionism; Photography & the Modern Movement; Plakatstil; Sach Plakat; Postcubist Pictorial Modernism

Week 10: A New Language of Form & The Bauhaus and the New Typography
Russian Suprematism & Constructivism; De Stijl; The Bauhaus at Weimar; Jan Tschichold; Early 20th Century Typeface Design; Isotype Movement

Week 11: The Modern Movement in America & The International Typographic Style
Immigrants to America; Works Progress Administration; The Flight from Fascism; The War Years; Informational and Scientific Graphics

Week 12: Exam 3

Week 13: The New York School & Coporate Identity Systems
Functional Graphics for Science; Swiss Sans-Serif Typefaces; Masters of Classical Typography; Design in Basel & Zurich; International Typographic Style in America

Week 14: The Conceptural Image & National Visions in a Global Dialogue
Pioneers of the New York School; Graphic Design at Yale University; Editorial Design Revolution; The New Advertising; American Typographic Expressionism

Week 15: Postmodern Design & The Digital Revolution
New Wave Typography; Memphis and San Francisco Schools; Retro & Vernacular Design; Origins of Computer-Aided Graphic Design; Revitalizing Magazine Design; Digital Type Foundry; Conceptual Book Covers; Digital Vanguard

Week 16: Exam 4


Paul Rand was a well-known American graphic designer, best known for his corporate logo designs.


Jean-Benoit Levy is a Swiss graphic designer whose goal is to stay creative while collaborating on challenging projects with inventive entrepreneurs and open minded clients. Jean-Benoit Levy Paul Rand

The Romanesque period saw an increase in the number of churches and monasteries being built, which in turn led to an increase in the production of manuscripts. The monks working in the scriptoria created books for two major markets: luxurious manuscripts for the nobility, and theological and devotional books for the clergy.

During periods of increased demand, monks invited lay scribes into the monastery to train and work alongside them. As the church's monopoly on learning declined and the secular market grew, many lay scribes saw the opportunity to set up their own workshops close to universities and centers of commerce.

 

The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.
Josef Muller-Brockmann