Course Tutors
SYLLABUS
Theoretical module
During several interactive video projections and commentary, the students come in contact with the historical and aesthetic evolution and application of many Greek and Latin fonts in order to widen their visual experience and understand the many different ways that type communicates a message. They develop better skills and design procedures to reach composition structure and focus on the requirements to complete each defined goal of their exercises.
Workshop module
In the workshop the students are expected to apply the broader and specific topics that were analyzed during the lectures and studied by their bibliographical research.
The exercises will train them to make decisions for the correct use of typographic elements in graphic composition, contributing to active and autonomous learning through research and developing skills for collaborative work in group projects.
The use of computers and design programs is essential for their traning and completing the projects..
Each week the students present their work and participate in a discussion with each other that expands their inspiration, debating abilities and analytical skills.
After completing the workshop course (13 weeks), each student must submit their complete proposals in digital form.
Performance is evaluated by each student’s portfolio quality, attendance and participation during the workshop discussions.
ATTACHED BIBLIOGRAPHY
Greek Sources
- Katsoulidis, T. (2000), The design of the letter: the Greek writing, Athens.
- Mastoridis, Kl. (2002), Proceedings of the 1st World Conference on Typography and Visual Communication: History, Theory, Education,
- Mathiopoulos, G. (2009), Anthology of Greek typography. A brief history of the art of the printed Greek book from the 15th to the 20th century, Heraklion, University of Crete Press.
- Arvanitis, D. (2011), Social Design: Posters for society, Athens, Gramma Publ.
International Sources
- Blackwell, L. (1992), 20th Century Type, Laurence King Press.
- Meggs, Ph. (1992), Type and Image: The Language of Graphic Design, John Wiley & Sons.
- Perfect Chr. (1992), The Complete Typographer: A Manual for Designing with Type, Little, Brown and Co.
- Carter, S. (2002), Twentieth Century Type Designers, Lund Humphries.
- De Jong, C. – Purvis, A. – Friedl, Fr. (2005), Greative Type: A Sourcebook of Classic and Contemporary Letterforms, Thames & Hudson.
- Felton, (2006), The Ten Commandments of Typography/Type Heresy: Breaking the Ten Commandments of Typography, Jonathan Barnbrook.
- Heller, S. – Ilic, M. (2009), The Anatomy of Design: Uncovering the Influences and Inspirations in Modern Graphic Design, Rockport.
- Shaoqiang, W. (2011), Type Player: Type as Experiment: Type as Image, Ginkgko Press.
- Tselentis, J. et al (2012), Typography, Referenced: A Comprehensive Visual Guide to the Language, History, and Practice of Typography, Rockport Publishers.
- Lynn, L. (ed.), (2012), Typography, Chois Publishing.
- Seddon, T. (2014) Type Teams: The Principles Behind Perfect Type Face Combinations, Adams Media.
- Osterer, H. – Stamm, (2014), Adrian Frutiger – Typefaces: The Complete Works, Walter de Gruyter.
- Campbell, A. – Dabbs, A. (2014), Typography Pocket Essentials, Hachette UK.
- Samara, T. (2017), Making and Breaking the Grid, Second Edition, Updated and Expanded: A Graphic Design Layout Workshop, Rockport Publishers.
- Samara, (2018), Letterforms: Typeface Design from Past to Future, Rockport Publishers.
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