Programme Outline: Multimedia Design

Policy Name: Multimedia Design Policy Number: 011c

Programme Outline
Approving Body: Head of Academic Date of last January 2012
Planning approval:
Date of Next Review December 2012 Version: 3
and Renewal:
Custodian: Head of Storage: I:Institutional/InstitDocs/Curr
Graphic/Multimedia ent/011c_ProgOutlMultm_v
Design 3
Relevant Legislation: Related Programmes Offered
Documents:
Assessment Policy

1. Purpose
This document outlines the Multimedia Design learning programmes offered at Greenside Design
Center (GDC). It includes descriptions of the rationale, overview, aims, learning outcomes, and
indicative syllabus for the programmes.

2. Scope
This outline pertains to the higher education programmes in the field of Multimedia Design.

3. Qualifications offered:
Qualification NQF Level SAQA number
1
Bachelor of Arts Degree in Multimedia Design Level 07 71672
1
Bachelor of Arts Honours Degree Multimedia Design Level 08 71670

4. Bachelor of Arts Degree in Multimedia Design

4.1. Programme Structure and Description

Year of Study Credit Subjects
Points
First Year 120 Principles and Theory of Design I
Communications I
Technology and Professional Practice I
Critical Studies I
Second Year 120 Principles and Theory of Design II
Communications II
Technology and Professional Practice II
Critical Studies II
Third Year 120 Principles and Theory of Multimedia Design III
(Exit Level) Communications III
Technology and Professional Practice III
Critical Studies III

1
According to the Higher Education Qualifications Framework of the 10-level National Qualifications Framework
Programme Outline: Multimedia Design Page 2 of 31

The BA Multimedia Design Degree is a 360 credit point qualification at NQF level 7 and comprises of
three academic years of study. The number of credit points that are awarded to each subject relates
to the number of hours per subject per year, with 1 credit point equaling ten hours. This in turn is
related to the weighting of each subject which is expressed as a percentage.

The programme is structured to facilitate in students an awareness of the interrelationship of the

many facets that lead to professional and responsible design. The various subjects (Principles and
Theory of Multimedia Design, Communication, Technology and Professional Practice and Critical
Studies) are aimed to develop specific abilities, skills and bodies of knowledge, and are therefore
integrated into projects supported by research and formal lectures. Projects/assignments become
successively more complex, demanding increasing breadth and depth of research and analysis, and
higher levels of perspicuity and sophistication in meeting the criteria of the set task. Critical Studies,
although largely structured as a linear programme, supports the theory and practice of design by
locating it within contemporary discourses. Students are also exposed to the working environment in
each level of study.

The first year offered by Design Center serves as a foundation in design. It acquaints students with
holistic principles common to various design disciplines and develops communication skills and allows
for experimentation in a wide variety of media. Multimedia design students are offered a foundation
specific to graphic/multimedia design. Towards the end of the year students begin to learn in a more
focused way the structure of the multimedia design field to prepare them for the demands of second
year. The second year is more Multimedia design specific by comparison in that students are exposed
to design methodologies and problems pertinent to the field. In the third year, students are taught to
critique and challenge more complex Multimedia design problems.

4.2. Aims
a) To develop competent and employable multimedia design students;
b) Form, create and rationalise design and theoretical arguments;
c) To provide a theoretical and practical foundation in digital communication, for further study.
d) Implement, evaluate and critique digital design processes;
e) Locate the role of the multimedia designer within the professional and workplace arena.

4.3. Programme Learning Outcomes

On completion of the programme students should:
a) Research, conceptualise, analyse and produce creative and conceptual design solutions to
complex design problems;
b) Communicate design messages critically, using a variety of visual communication methodologies
and predominantly digital technologies;
c) Create and present a professional multimedia design portfolio which critically reflects a personal
design philosophy and a socially responsible engagement;
d) Operate industry related computer hardware and software at an industry level.
e) Articulate and represent ideas and arguments, which reflect an understanding of the contribution
of multimedia design practices to the professional arena.
f) Conduct and evaluate research in order to create logical design arguments
g) Locate multimedia design within the larger disciplines of design and the creative industries;

4.4. First Year Multimedia Design

4.4.1. Overview

The first year of study is largely concerned with the fundamentals of two and three dimensional design
common to the Graphic and Multimedia design disciplines. The first set of projects are designed to
develop a creative process of problem solving, visual communication skills and design principles,
which structure visual elements into cohesive statements, students explore the underlying principles
Programme Outline: Multimedia Design Page 3 of 31

of design. From the onset, students will be exposed to projects with both a multimedia and graphic
design orientation. This is intended to allow students to make a more informed decision around which
specialisation they want to pursue in their career at Greenside Design Center. Students choose their
specialisation in the 4th term where they are offered a more focussed foundation in multimedia
design. This elucidates the more concrete conventions associated with the practice of multimedia
design.

The Critical Studies component of the course extends the students' personal explorations of visual
communication and design principles into a broader perspective through analysis and interpretation of
art and design as a response to social, cultural and technological considerations such as new media
discourse.

This programme is integrated thematically into both the generic an multimedia studio work projects on
a termly basis

The Technology and Professional Practice component of the programme serves as an introduction to
the world of working as a professional multimedia designer. When not incorporated into a project,
assignments dealing with specific issues like time/resource management, presentation or workplace
procedures are interspersed between projects. The professional finish, navigability and legibility of a
design product is emphasised in the design process.

Students are also gradually introduced to the relevant technology and to the relevant computer
software and hardware.

4.4.2. Aims

a) To introduce students to the skills and knowledge base pertinent to visual culture in general and
design in particular;
b) To introduce students to the necessary skills, abilities and practices to allow them to study further
in Multimedia Design.
c) To introduce students to important concepts such as interactivity, immersion, commodity culture
and integrate their understanding of such concepts into considered design products.

4.4.3. Learning Outcomes for the First Year of Study

On completion of this level students should:

a) Demonstrate an understanding of the application of lateral and alternative thought to visual
problems;
b) Have developed an understanding of basic design elements and principles and their application
within, Graphic and Multimedia design, and reflect this through a portfolio of print based and
digital work;
c) Be able to make informed choices as to specific electives within design, following an holistic
introduction to graphic and multimedia design theory and application.
d) Demonstrate an understanding of a range of technologies, including software programmes, such
as Photoshop, Illustrator and Flash, available to multimedia designers.
e) Demonstrate an understanding of a range of media available to graphic and multimedia
designers, for mark making, print, and digital execution.
f) Be able to communicate ideas visually, verbally and in writing.
g) Be able to find and understand texts relevant to projects set.

4.4.4. Curriculum

Subjects Credit Points

Principles and Theory of Design I 30
Communications I 30
Critical Studies I 30
Programme Outline: Multimedia Design Page 4 of 31

Technology and Professional Practice I 30

Total credit points for the year's course 120

Workload Hours
(per academic year)
Supervised studio time (incorporating lectures, briefings and critiques) 448
Small group consultations 32
Supervised computer studies 64
Field trips 10
Unsupervised and independent project development (including
566
research, assignments, and computer work)
Unsupervised and independent portfolio preparation 80
Total 1200

4.4.5. Subject Descriptions

Principles and Theory of Design I

Aims
a) To introduce students to basic formal elements, design principles and the design
process;
b) To provide the necessary information about Graphic and Multimedia design so
as to enable students to make informed choices as to their future careers.

Subject Learning Outcomes

By successful completion of the subject at this level the student should be able to:
c) Demonstrate conceptual and creative abilities, and reflect these through a visual
diary and/or concept book
d) Be able to draw on and demonstrate basic design principles and design
elements in solving specific visual problems. Such as in the production of
posters, corporate identities and fundamental character development,
e) Demonstrate comprehension of context specific design (such as a socially,
visually and/or culturally relevant logo or storyboard)
f) Provide evidence, through concept work, of exploring a number of design
solutions to a specific to a print-based or digital problem.
g) Record a process of precedent analysis in graphic and/or multimedia design
practice
h) Investigate and implement an awareness of socially responsible and sustainable
design.

Teaching and Learning Methods

Formal lectures
Slides and notes to explain formal elements of design
Tutorials: discussion groups to debate current and/or historical issues
Studio work and workshops for the application and interpretation of design principles
pertinent to particular projects
Independent research and analysis of given topics
Critiques of student work in process and at completion

Indicative Syllabus
Methods and vocabulary for the manipulation of basic design elements toward, inter
alia, stylistic and communicative ends
Methods and vocabulary for the composition and organisation of design elements
(focal points, balance etc.)
The study of appropriate design methods and techniques
Programme Outline: Multimedia Design Page 5 of 31

Project Examples
Problem solving techniques and methodologies, ideas generation, conceptual
development and research towards the execution of posters, corporate identities,
editorial design, fundamental character development & animation, illustration and
basic interactive design.

References
Behrens, R. 1984. Design in the Visual Arts. California: Prentice Hall
Edwards, B. 1988.Drawing on the Artist Within; How to release your hidden creativity.
Fontana/COLLINS
Kress, G, Van Leeuwen, T. 2006. Reading Images: The grammar of visual design.
Routledge
MacGarry. M. 2008. Graphic Design. David Krut Publishing. SA

Communications I

Aims
a) To develop visual communication skills;
b) To demonstrate an understanding of the range of descriptive and metaphorical
associations that different media may evoke;
c) To expose students to as many different media as possible.

Subject Learning Outcomes

By successful completion of the subject at this level the student should be able to:
a) Be able to use appropriate techniques and media to communicate a desired
message
b) Show an ability to effectively explain a concept or idea, visually
c) Show an ability to effectively explain a concept or idea to a given recipient.
(such as through the substantiation of the appropriate colour and typeface
choices in a historically stylised poster design)
d) Show evidence of an understanding of the application of colour theory, design
processes, principles and elements, as they pertain to the respective graphic
and multimedia programme.
e) Be able to use language effectively to communicate observations and ideas

Teaching and Learning Methods

Lectures with visual aids covering methods, techniques and terminology.
Demonstration and discussion of techniques and media.
Experimentation with and use of various media.
Studio work and workshops.
Critiques of student work in process and at completion.

Indicative Syllabus
The "meaning" of visual form
The manipulation of typography and visual imagery
Drawing (observational, perspective, concept) in a variety of media
Rendering/illustration techniques in a variety of media
Packaging construction
Storyboarding
Digital interactive design

Project Examples
The clarity of the communicative strategies as defined by design principles, elements
and technologies applied to posters, corporate identities, editorial design,
fundamental character development & animation, illustration and basic interactive
design..
Programme Outline: Multimedia Design Page 6 of 31

Communications I, as a subject, will be integrated into most of the projects specified

for Principles and Theory of Multimedia Design I and Technology and Professional
Practice I. Students will also be required to build up a portfolio of drawing, through
class drawing, and specified exercises.

References
Blockley, J. 1985. Getting Started in Watercolour. Cincinnati: North Light Books
Dalley, T. 1984. The Complete Guide to Illustration and Design. London: Book Club
Ass.
Reekie, F.1976. Draughtsmanship. London: Edward Arnold
Robertson, B. 1981. Designing with Letters. London: Bruce Robertson
Gardner. B & Fishel. C . 2003. Logo lounge: 2000 international identities by leading
designers. Rockport Publishers, Inc.
Mollerup. P. 1994. Marks of excellence: History and taxonomy of trademarks, the.
Phaidon Press Limited
Greco. N. 1995. 3-Dimensional illustration awards annual 5: Best in 3-D advertising
and publishing worldwide, the. Rockport Publishers, Inc.
Adams. S, Morioka. N, Stone. T. 2004. Logo design work book: Hands-on guide to
creating logos, a. Rockport Publishers, Inc.
Tumminello. W. 2005. Exploring storyboarding: In - depth guide to the art and
techniques of contemporary storyboarding, an. Thomson Delmar Learning

Technology and Professional Practice I

Aims
a) To instil an awareness of the importance of the design process;
b) To develop time/resource management skills;
c) To develop professional presentation skills.

Subject Learning Outcomes

By successful completion of the subject at this level the student should be able to:
a) Demonstrate a professional attitude to different forms of presentation and
delivery (such as physical presentation of printed work)
b) Organise, document and apply resource management strategies (time
management, team work, contact with lecturers, use of library facilities and
computers, etc) developed throughout the year
c) Demonstrate understanding of technologies available to specific design
application (such as computer hardware, available to the students)
d) Demonstrate basic practical literacy in specific computer software applications
(including Photoshop, Illustrator, and Flash)
e) Demonstrate competent observational skills using a variety of technologies and
media (such as still life drawing, basic digitization of illustrations, etc)
f) Demonstrate an understanding of the importance of craft to professional design
delivery (attention to detail in final presentations, including spelling, image
quality, grammar, and finish)

Teaching and Learning Methods

Formal lectures with back-up notes.
Discussion and analysis of the suitability of materials and processes
Exercises in written documentation
Verbal presentations of project work.

Indicative Syllabus
Time/resource management.
Verbal communication and presentation skills
Programme Outline: Multimedia Design Page 7 of 31

Information concerning the properties and application of materials pertinent to design

projects set for the year
A study of basic photographic techniques and image manipulation

Project Examples
The practical execution and professional presentation of projects as applied through
exercises in specialised computer software, oral presentations, written rationales,
storyboard presentations, animation and basic Actionscript. Such application would
be incorporated into projects such as posters, corporate identities, editorial design,
fundamental character development & animation, illustration and basic interactive
design.

References
Lydiate, L. 1992. Professional Practice in Design Consultancy. London: Design
Council
Porter, Greenstreet and Goodman. Manual of Graphic Techniques 1, 2 and 3.
Sanders and Breeuer. 1982. Graphic Designers Production Hand Book. London:
Astragal Books
Phillips. R. 2001. Packaging - graphics and design. Rockport Publishers, Inc.
Kozak. G, Weidemann. Julius. 2008. Package design now. Taschen GmbH

Critical Studies I

Aims
a) To enable critical and analytical skills.
b) To develop competent research and writing skills.
c) To stimulate independent and discursive and applied thinking.
d) To stimulate independent thought.

Subject Learning Outcomes

On completion of this subject at this level the student should:
a) To initiate students into a personalised engagement with critical and analytical
skills in response to relevant discourse in the visual arts.
b) To develop competent research and writing skills.
c) To develop and demonstrate an appropriate vocabulary in relation to focussed
visual analysis
d) Comprehend the course work discussed and researched in class in its
application to appropriate theoretical constructs.
e) Explain personalized interpretations and observations of the course work orally
and integrate this as part of a written essay format.
f) Retrieve, recognise and summarise information from various sources as part of a
thorough, critical research process.
g) Formulate and structure a visual or written argument in an informed and
coherent way.
h) Express an informed, critical opinion while understanding and applying the
relevant GDC referencing techniques.

Teaching and Learning Methods

Students can expect a variety of methods by which the course is facilitated. Formal
Lectures: lectures and power point presentations covering terminology, concepts,
historical, social, cultural, philosophical and visual contexts. Two hour lecture slots
will center primarily around lecturer prepared PPPs. Each lecture covers a specific
area of study relating directly to the thematic focus in this module. A weekly one hour
tutorial slot will enable smaller group discussions and focused study of prescribed
learning material. Discussion Groups will encourage observation, verbal skills,
analysis and personal response. Students are required to complete compulsory
Programme Outline: Multimedia Design Page 8 of 31

preparatory reading for the weekly tutorial slots which will be submitted for
assessment. Research Projects will take the form assignments (written, oral and
work-shopped) projects requiring reading, research, observation and analysis of
selected examples of visual culture manifestations. Readings and other course
material is selected to provoke and initiate discussion around particular aspects of the
module theme and must be consulted as part of the extended reading list provided
here. In other words students must look beyond the recommended tutorial work and
reading list for appropriate resource material to augment and personalise the
research process. Additionally students will develop skills in the exposition of
hermeneutic textual analysis as well as guidance in referencing style, argument
development and written expression. It is recommended that students draw from a
variety of primary and secondary research sources. These could include books,
chapters in books, journal articles, on line sources, documented site visits, interviews
and surveys etc. Lastly, compulsory peer evaluation opportunities are built into the
assessment strategy of this module.

Indicative Syllabus
st
1 year students problematise the interrelations of art, craft and design with in the
South African and more broadly, the African social and cultural landscape. The
programme focuses on developing the students unique and individual awareness of
their pending practice as visual arts producers and designers within the broader
professional community. In the first term Student work with the theme: 150 Years Of
Design: Mapping Out The Historical Development Of Design and focus on
strategies for reading and unpacking texts. Students use a variety of reading
strategies to unpack academic texts by identifying key words, conducting predictive
analysis, skimming and scanning texts, close reading of texts and contextualised
reading. The development of writing skills in this term enables students to paraphrase
and summarise given academic texts and make connections between summaries. In
the written assignment, students identify the representation of posters from the
Industrial Revolution up until 1939 in terms of their stylistic shifts. In the second term
students interrogate their own studio practice by unpacking the epistemology of
graphic or multimedia design. The aim of this project is to bring together and
encapsulate the years learning in a focussed and personalised critical essay. This
project thus allows the student to examine specific concepts and theories that
underpin their chosen studio work practice in preparation for the second and third
year of study. The third term, is aligned with studio work. Students engage with the
task of Finding The Elusive African Voice: Problems With Identifying African-
Ness In Current (South) African Design. Students are asked to write a visual
analysis, using their caricature from a South African celebrity. Their writing must
outline a specific strategy for identifying elements that make for a typically African
design identity. Though this analysis, they will argue for their choices made within
their caricature design by analysing their own design example as well as at least 5
specific visual criteria. In the final term students continue studies in art, craft and
design in a unit called Boundary Disputes: Arguing for the Social Significance of Art,
Craft and Design. In critical essay students evaluate the argument that in a
postmodern cultural context the boundaries between forms of cultural production are
becoming more porous. Here students will explore differences between what is
traditionally defined as art, craft and design become particularly important in
recognizing indigenous knowledge and practices.

References
Buchanan, R. & Margolin, V., (eds). 1995. Discovering Design. Chicago: University of
Chicago Press.
Conway, H., (ed). 1987. Design History: A Students Handbook. London: Allen &
Unwin.
Fiedler, J. & Feierbend, P. 1999. Bauhaus. Cologne: Konemann.
Programme Outline: Multimedia Design Page 9 of 31

Fiell, P. & Fiell, C. 2005. Graphic Design for the 21st Century. Italy: Taschen.
Friedl, F. & Ott, N. & Stein, B. 1998. Typo; When, Who, How. Milan: Konemann.
Forty, A., 1986. Objects of Desire. London: Thames and Hudson.
Greenhalgh, P. 1997. Modernism in Design. Wiltshire: Reaktion.
Harrison, C. & Wood, P. (eds) 1993. Art in Theory. Cambridge Massachusetts:
Blackwell.
Heller, S. 2000. Graphic Design Timeline. New York: Allworth.
Lauer, D. & Pentak, S., 1995. Design Basics. New York: Harcourt Brace.
Longdon, R. & Cross, N., 1982. Design and Society: International Conference on
Design. London: Design Council.
Mc Dermott, C., 1994. Essential Design. London: Bloomsbury.
Meggs, P. 1998. A History of Graphic Design. Canada: John Wiley and Sons.
Raizman, D. 2003. History in Modern Design, London: Laurence King.
Sparke, P. 1987. Design in Context. London: Bloomsbury.
Sparke, P. 2004. Modernity In Design, London.
Woodham, J. 1997. Twentieth Century Design. Oxford New York: Oxford
Buchanan, R. & Margolin, V. (eds). 1995. Discovering Design. Chicago: University of
Chicago Press.
Caplan, R. 2006. Cracking the Whip: Essays on Design and its Side Effects. New
York: Fairchilds.
Levinsohn, R. 1984. Art and Craft: Treasures in Transition. Johannesburg: Delta.
Littlefield Kasfir, S. 1999. Contemporary African Art. London: Thames and Hudson.
Meggs, P. 1998. A History of Graphic Design, 3rd Edition. New York: Wiley and
Sons.
Whitely, N. 1993. Design for Society. London: Reaktion Books.
Barnard, M. 2005. Graphic Design as Communication. New York: Routledge.
Counts, E.L. 2004. Multimedia Design And Production: For Students And Teachers.
Boston: Pearson.
Frascara, J. 2004. Communication Design: Principles, Methods, And Practice. New
York: Allworth Press.
Heller, S., Helfand, J., Bierut, J. & Poynor, R. 1999. Looking Closer: Classical
Writings On Graphic Design. New York: Allworth.
Thissen, F. 2004. Screen Design Manual: Communicating Effectively Through
Multimedia. Berlin: Springer.
Tidwell, J. 2006. Designing Interfaces: Patterns for Effective Interaction Design.
California: OReilly Media.

4.5. Second Year Multimedia Design

4.5.1. Overview

This programme is a progression from the first year of study in that it extends the understanding and
application of abilities acquired in the first year towards a greater sophistication and a more
professionally directed orientation in terms of Multimedia Design.

It continues to operate on the basis of studio project work with supporting formal lectures and
excursions pertinent to the course (Multimedia Design companies, suppliers, etc.). Some subjects
pursue a linear course delivery. In relation to the first year more emphasis is placed on developing the
students analytical and critical abilities and on independent development and research.

4.5.2. Aims

a) To apply a knowledge base pertinent to multimedia design which can be used to inform solutions
to design problems;
b) To apply conceptual, perceptual and creative skills;
c) To apply research and communication skills;
Programme Outline: Multimedia Design Page 10 of 31

d) To apply problem solving skills.

e) To apply technical skills pertinent to the industry

4.5.3. Learning Outcomes for the Second Year of Study

On completion of this level students should be able to:

a) Apply research and conceptualise a range of ideas to solve design problems;
b) Apply design principles pertinent to the integration of visual, auditory and textual elements as
these pertain to multimedia design
c) Be able to apply a broad range of technology pertinent to multimedia design and be able to use
selected hardware and software to communicate design solutions.
d) Communicate design concepts visually though the production of predominantly digital design
output.
e) Communicate design decisions through verbal articulation and in writing.
f) Operate multimedia design related computer hardware and software;
g) Be able to present themselves and their work in a professional manner.
h) Provide evidence, through written assignments, concept work and finished design solutions, of
growing research, conceptual and creative skills

4.5.4. Curriculum

Subjects Credit Points

Principles and Theory of Multimedia Design II 30
Communications II 30
Technology and Professional Practice II 30
Critical Studies II 30
Total 120

Workload Hours
(per academic year)
Supervised studio time (incorporating lectures, briefings and critiques) 352
Small group consultations 32
Supervised computer studies 128
Field trips 10
Unsupervised and independent project development (including
research, assignments, and computer work) 598
Unsupervised and independent portfolio preparation 80
Total 1200

4.5.5. Subject Descriptions

Principles and Theory of Design II

Aims
a) To provide students with the skills to develop the design process and to apply
their ideas into successful design solutions;
b) To develop students ability to use design elements in a creative and functional
way;
c) To introduce the concepts of time and sequence in Multimedia design;
d) To develop students understanding of interactivity and navigation routes.

Subject Learning Outcomes

By successful completion of the subject at this level the student should be able to:
a) Apply established design principles and elements creatively, to the production of
interactive and animated designs
Programme Outline: Multimedia Design Page 11 of 31

b) Produce experimental design solutions using a variety of digital media

c) Apply a process of precedent analysis involving historical, cultural and practical
reference and relevance, to the digital design process
d) Plan and organise the various stages within a design process, from
conceptualisation to design production (such as research, plan and execute a
film titling sequence)
e) Produce context specific design (client based website, culturally relevant graphic
novel), located within a social, visual, and cultural framework
f) Show understanding of digital design terminology and methodology, through
appropriate documentation and application (screen based and interactive)
g) Develop and implement an awareness of socially responsible and sustainable
design.

Teaching and Learning Methods

Formal lectures supported by visual aids
Design projects and applied exercises
Group discussion and presentations
Independent research (historical precedent and field research)
Critique of work in progress and final presentation
Group tutorials in technology-based training

Indicative Syllabus
This subject aims to further develop students visual literacy into a repertoire of
design principles and techniques that are essential for effective visual
communication. The subject teaches the student to use and manipulate imagery and
typography to communicate to a targeted audience. The student is trained in
conceptual planning and thought processes of design as an introduction to a variety
of Multimedia Design fields. Students learn interactive and motion graphics skills and
are introduced to audio design. Emphasis is also placed on storyboarding and
navigational skills.

Project Examples
Problem solving techniques and methodologies, ideas generation, conceptual
development and research towards the execution of multimedia campaigns,
interactive websites, interactive cds and presentations, interface designs, information
design, video editing, and animated sequences.

References
Albrecht, D. Lupton, E. and Holt, S. 2000. Design Culture Now: The National Design
Triennial. New York: Princeton Architectural Press
Beltantoni, J. Moving Type: Designing for Time and Space. Switzerland: Rotovision
Faber, L. 1998. RePlay: Ultimate Games Graphics. London: King Publishers
Forbes, T. 2000. Webworks for Advertising. Gloucester: Rockport
Siejdel, J and Velthoven, W. 1996. Multimedia Graphics: The best of global
hypermedia. San Francisco: Chronicle Books
Woolman, M. 1997. A Type Detective Story. Switzerland: Rotovision
Wozeweroft, J. 1994. The Graphic Language of Neville Brody. London: Thames and
Hudson
Edelson, D. C. 2002. Design Research: What we learn when we engage in design.
The journal of the learning sciences 11(1): 105-121

Communications II

Aims
a) To apply the student's observational ability;
b) To apply visual, verbal and written communication skills;
Programme Outline: Multimedia Design Page 12 of 31

c) To develop students' ability to create and apply imagery in a creative and

functional way.
d) Apply communication strategies through a range of media

Subject Learning Outcomes

By successful completion of the subject at this level the student should be able to:
a) Contextually apply relevant visual, written and verbal communication to coherent
Multimedia design practice
b) Experiment with and apply appropriate analog/digital techniques and media to
communicate relevant subject matter and a developed personal style
c) Demonstrate competent observational illustration skills using a variety of media
and/or technologies.
d) Demonstrate a practical understanding of design principles and design elements
as they pertain to Multimedia design practice (including sequence, sound,
motion, digitisation, print, etc)
e) Demonstrate a practical understanding of the difference between readability and
legibility in multimedia design application (such as the implications of the speed
at which type moves across the screen)

Teaching and Learning Methods

Workshop demonstrations
Practical projects
Formal lectures
Group debates/discussions
Critique of work
Group consults/tutorials

Indicative Syllabus
The students will explore the anatomy of typefaces and their communicative value.
They will explore the relationship between visual and linguistic meaning in order to
perceive and record proportion, outline, shape and telling details. Drawing skills will
be taught aimed at developing a means of conceptual communication, as well as
various rendering techniques and colour in order to further the visual vocabulary of
Multimedia Design. Photography as a Multimedia Design tool will be taught to help
supplement the conceptual and manual processes of image making. The students
will develop an understanding of computer technology, hardware and software to aid
the communication process.

Project Examples
The clarity of the communicative strategies as defined by design principles, elements
and technologies applied to multimedia campaigns, interactive websites, interactive
cds and presentations, interface designs, information design, video editing, and
animated sequences.
Communications II, as a subject, will be integrated into most of the projects specified
for Principles and Theory of Multimedia Design II and Technology and Professional
Practice II. Students will also be required to build up a portfolio of drawing, through
class drawing, and specified exercises.

References
Lynch, P. and Horton, S. 1999. Web Style Guide. New Haven: Yale University Press
McKenna, A. 2000. A Digital Portfolio. Gloucester: Rockport
Street, R. 1998. Computer Animation: A Whole New World. Gloucester: Rockport
Street, R. 1997. The Best Of Animation Design 2. Cincinnati: Rockport
Mayer, R. E. & Moreno, R. 2007. A Cognitive Theory of Multimedia Learning:
Implications for Design Principles. [O]. Santa Barbara: University of California.
Programme Outline: Multimedia Design Page 13 of 31

Available on:
http://64.233.167.104/search?q=cache:pEKC1Gnbx8cJ:www.unm.edu/~motive+tho
ery+of+multimedia&hl=en&ct=clnk&cd=1&gl=us&client=safari. Accessed on: 22/09/09
Boyle, T. 2002. Towards a theoretical base for educational multimedia design.
Journal of Interactive Media in Education 2002(2): 1- 16
Gener, R. 2005. Me and My Data Shadow in American Theatre. 22(10)
Simon Cooper. 2002. Technoculture and Critical Theory: In the Service of the
Machine? London: Routledge
Sherry Turkle, 1999. Cyberspace and identity. in Contemporary Sociology 28(6)
Helen Kennedy. 2003. Technobiography: researching lives, online and off.
in Biography 26 (1)

Technology and Professional Practice II

Aims
a) To apply the technologies necessary for creative and functional solutions to
basic multimedia design problems;
b) To conduct in a professional manner;
c) To begin to develop interpersonal skills and be able to work as part of a team.
d) To introduce students to verbal, written and visual presentations which
communicate the design intention and appeal.
e) To apply time/resource management skills

Subject Learning Outcomes

By successful completion of the subject at this level the student should be able to:
a) Competently produce digital designs using industry related software and/or
technologies
b) Organise, document and apply resource management strategies (time
management, team work, contact with lecturers, use of library facilities and
computers, etc) developed throughout the year
c) Reflect an understanding of the value of being an effective and participatory
member of a working group or team (such as reconciling sound, type,
interactivity skills in a website design project)
d) Demonstrate a professional attitude towards different forms of presentation and
delivery (such as physical presentation of printed work and oral articulation)
e) Critically craft design output according to the stipulated professional level
(attention to detail in final presentations, including spelling, image quality,
grammar, and finish)

Teaching and Learning Methods

Formal lectures
Excursions to relevant industry practices
Group and personal presentations
Written reports
Drawing training
Computer training

Indicative Syllabus
This subject will introduce the students to materials and mediums pertinent to the
production of design solutions. Students will also be introduced to photography
techniques, the processes and manipulation of digital imagery and sound. Students
will be required to present their design solutions to the class and will be guided in the
development of presentation skills. Perceptual skills for presentation focus and
technical finish are exercised in the development of multimedia presentations. The
students will liase with the communications industry by means of visits to multimedia
and design companies, production houses, suppliers, etc. The students will be
Programme Outline: Multimedia Design Page 14 of 31

introduced to various technical and logistical constraints of electronic production. A

basic knowledge of terminology and methodology should acquaint the student with
future specialist practice

Project Examples
The practical execution and professional presentation of projects as applied through
exercises in specialised computer software, oral presentations, written rationales,
storyboard presentations, animation and motion graphics and exercises in
programming languages such as Actionscript and HTML. Such application would be
incorporated into projects such as multimedia campaigns, interactive websites,
interactive cds and presentations, interface designs, information design, video
editing, and animated sequences.

References
Ceruzzi, P. 2000. A History of Modern Computing. Cambridge: MIT Press
Greco, N. and Ziegler, K. 2001. Designers Guide to Webtype. New York: Dimensional
Illustrators Inc
Heller, S. and Drennar, D. 1977. The Digital Designer. New York: Watson-Guptill
Hyland, A. (ed.). 2001. Pen and Mouse. London: Laurence King
McKenna, A. 2000. A Digital Portfolio. Gloucester: Rockport
Olson, G. 1997. Getting Started in Multimedia. Cincinnati: North Light Books
Roos.S. The Bottom Drawer. Accessed on 2008. <http://shawnroos.posterous.com/>
Creativity Portal. 2000. Accessed 2009. < http://www.creativity-portal.com/>

Critical Studies II

Aims
a) To further develop critical and analytical skills in response to relevant discourse
in the visual arts.
b) To further develop competent research and writing skills.
c) To develop and demonstrate an appropriate vocabulary in relation to focussed
visual analysis
d) To further develop effective theoretical positioning strategies in relation to
focussed visual analysis and purposeful reading.
e) To hone independent and discursive and applied thinking.

Subject Learning Outcomes

By the successful completion of this subject, the student should:
a) Demonstrate an understanding of visual culture theory as it relates to design and
media specific theory and practice
b) Source, analyse and implement research data to inform a critical argument
c) Create logical arguments based on design theory, cultural theory, visual cultural
theory and practice
d) Structure and communicate information clearly and logically in writing following
prescribed GDC referencing style format
e) Demonstrate an internalization of theory in their design practice

Teaching and Learning Methods

Two hour lecture slots will center primarily around lecturer prepared PPPs. Each
lecture covers a specific area of study relating directly to the thematic focus in this
module. A weekly one hour tutorial slot will enable smaller group discussions and
focused study of prescribed learning material. Discussion Groups will encourage
observation, verbal skills, analysis and personal response. Students are required to
complete compulsory preparatory reading for the weekly tutorial slots which will be
submitted for assessment. Research Projects will take the form assignments (written,
oral and work-shopped) projects requiring reading, research, observation and
Programme Outline: Multimedia Design Page 15 of 31

analysis of selected examples of visual culture manifestations. Students must look

beyond the recommended tutorial work and reading list for appropriate resource
material to augment and personalise the research process. Additionally students will
develop skills in the exposition of hermeneutic textual analysis as well as guidance in
referencing style, argument development and written expression.

Indicative Syllabus
Marxism, commodity culture and branding are the main focus in term 1, which serves
to grow understanding in students of concepts such as class, commodity fetishism,
base and superstructure, use and exchange value, mass media, brands and
ideology. The aim is to identify and critically interpret media texts within a Marxist
framework; to show how narratives and media texts reveal class struggles, how
individual characters are part of such struggles, that images encode ideologies and
that economic forces determine products and actions. Also, to observe and study
consumerist behaviour, branding strategies and the production of commodities from a
critical Marxist perspective. Term 2 & 3 semiotic theory is divided into 2 parts. In term
2 Part 1of semiotic s entitled: SEMIOTICS AND VISUAL CULTURE Brand History
in South African Advertising further explores Marxist theoretical concepts via in-depth
visual analysis of selected SA brands. Students are introduced to the basic principles
of semiotic theory in its application to visual research and analysis. To identify,
examine and analyse how signs reflect meaning through a system of arbitrary social,
linguistic and cultural conventions. To introduce students to basic theories on
semiotics as propounded by Saussure, Peirce and Barthes as well as more
contemporary theorists such as Kress and van Leeuwen. To familiarize students with
semiotic analysis as it is applied to the media and advertising industry; as well as
developing in students a competent and appropriate vocabulary to be able to conduct
appropriate written visual analysis in their essays. To apply this knowledge to the
broader context of visual culture, as reflected in the urban domain and the dominant
codes, referent systems and mythologies which underlie these structures. Part 2
entitled: PART 2: FILM THEORY AND VISUAL CULTURE: History of SA film, utilise
film theory to address issues around gender representation and stereotyping. The
omnipresence of gender and related issues historically related through SA film forms
the focus for Term 3s brief. Unquestionably designers and all visual practitioners
need to consider how gender and sexuality are historically utilised in South African
films to reinforce or question stereotypes of gender and related ideologies of race,
class and sexual orientation as they are portrayed in the selected films. The theme
for term 4s brief BINARY OPPOSITIONS introduce students to postcolonial theory
in relation to colonial tropes of looking, with particular emphasis on African
colonialism. This serves as a ground work for further study in the field; as well as to
sensitise students in their handling of cultural discourse in visual scenarios. Students
will critically interpret visual images employing a postcolonial framework that critiques
colonial perspectives; and problematises the Western ideological construction/
representation of the other. The colonial baggage of the photographic medium will
also be demonstrated and explored through visual and textual sources.

References
Baudrillard, J. 1998. The Consumer Society. London: Sage.
Berger, J. 1988. Ways of seeing, London: Penguin: 129 154.
Comaroff,J.& Comaroff, J. 1999. Of Revelation and Revolution. Chicago: The
University of Chicago Press.
Kress, G.& van Leeuwe, T. 2006. Reading Images. Routledge: New York.
Klein, N. 2001. No Logo. London: Flamingo.
Marx, K. and Engels, F. 1998. The Communist Manifesto. London: Verso.
Nederveen Pieterse, J. 1992. White on Black. London: Yale University Press.
Osborne, P. 2005. How to Read Marx. London: Granata Books
Programme Outline: Multimedia Design Page 16 of 31

OShaughnessey, M. Stadler, J. 2002. Media and Society An Introduction. Australia:

Oxford.
Rose, G. 2001. Visual Methodologies. Sage Publications;London.
Stuart & Hall (Ed). 2003. Representation: Cultural Representation and Signifying
Practises. London: Sage.
Sturken, M. &Cartwright, L 2001 Practices of Looking. New York: Oxford University
Press.
Van Eeden, J. and du Preez, A. (eds). 2005. South African Visual Culture.
Pretoria:Van Schaik.
Wayne,M.2003. Marxism and Media Studies. London:Pluto Press:6-16.
Younge, L. 1991. Fear of the Dark: Gender, Racism, Ethnicity. London: Routledge.

4.6. Third Year Multimedia Design

4.6.1. Overview

The year of study is structured to facilitate an increased confidence in the application, critique and
evaluation of knowledge, experience and skills gained in the earlier modules of study in an
exploratory, creative and personal manner. An individual design philosophy is encouraged. As
Multimedia is a tool for creativity, the students will be taught to think around and conceptualise
solutions and strategies for the new media, as well as the potentials that new media may have in their
field or work. Students will be trained further in the technology, conceptualisation, planning and
implementation of Multimedia Design. They will also be encouraged to research this constantly
developing field in terms of style, media, content and application. A portfolio of work that is
representative of the students skills and creative and intellectual abilities will be assembled for
assessment.

The subjects pertinent to Multimedia Design are incorporated into projects which question, develop
and address a specific set of criteria for each project. These criteria aim to prepare students for the
workplace and for further study, as well as providing them with both intellectual and creative
challenges. Both the Critical Studies and the practical design components of the programme address
design within a responsible framework of cultural and sociological relevance.

4.6.2. Aims

a) To develop competent and employable multimedia design students;

b) Form, create and rationalise design and theoretical arguments;
c) To provide a theoretical and practical foundation in digital communication, for further study.
d) Implement, evaluate and critique digital design processes;
e) Locate the role of the multimedia designer within the professional and workplace arena.

4.6.3. Learning Outcomes for the Third Year of Study

On completion of this year of study students should be able to:

a) Research, conceptualise, analyse and produce creative and conceptual design solutions to
complex design problems;
b) Communicate design messages critically, using a variety of visual communication methodologies
and predominantly digital technologies;
c) Create and present a professional multimedia design portfolio which critically reflects a personal
design philosophy and a socially responsible engagement;
d) Operate industry related computer hardware and software at an industry level.
e) Articulate and represent ideas and arguments, which reflect an understanding of the contribution
of multimedia design practices to the professional arena.
f) Conduct and evaluate research in order to create logical design arguments
g) Locate multimedia design within the larger disciplines of design and the creative industries;
Programme Outline: Multimedia Design Page 17 of 31

4.6.4. Curriculum

Subjects Credit Points

Principles and Theory of Multimedia Design III 30
Communication III 30
Technology and Professional Practice III 30
Critical Studies III 30
Total 120

Workload Hours
(per academic year)
Supervised studio time (incorporating lectures, briefings and critiques) 352
Small group consultations 32
Supervised computer studies 128
Field trips 10
Unsupervised and independent project development (including
research, assignments, and computer work) 598
Unsupervised and independent portfolio preparation 80
Total 1200

4.6.5. Subject Descriptions

Principles and Theory of Multimedia Design III

Aims
a) Plan, implement, monitor and evaluate the design process to solve complex
design problems in a creative and functional way;
b) Analyse and evaluate design solutions;
c) To critically engage with user experience
d) Compile a professional design portfolio

Subject Learning Outcomes

By successful completion of the subject at this level the student should be able to:
a) Be able to critique personal conceptual and creative abilities
b) Identify, modify and challenge existing digital design terminology and
methodology, through appropriate documentation (visual diary/concept book)
and application, (associated with an understanding of animation, character
development, digital photography, interactive design, motion based design,
design for the internet, etc)
c) Produce designs which reflect creative manipulation of interactive and animated
design principles and elements
d) Critically analyse and integrate precedent into design practice
e) Synthesise practical and conceptual application of content specific design (such
as brand communication through digital typographic application and image
manipulation)
f) Identify, make judgement on, and demonstrate an awareness of socially
responsible and sustainable design.

Teaching and Learning Methods

Formal lectures
Design campaigns and projects
Seminars and group presentations
Field research and reports
Critique of work in progress and final presentation
Group tutorials in technology based training
Programme Outline: Multimedia Design Page 18 of 31

Indicative Syllabus
The intellectual and creative skills of each student will be developed relative to the
project content of the specialist Multimedia subject matter. Students will be given
projects where they will be required to combine their knowledge and skills into the
development of a body of work that is strong in content, technological skill and craft.
Students will be conducting projects where they will use video and film image, sound,
computer animation and interactive environments (digital, physical and augmented)..
The students will be encouraged to take a critical approach to established Multimedia
Design styles.

Project Examples
Problem solving techniques and methodologies, ideas generation, conceptual
development and research towards the critical execution of multimedia campaigns,
interactive websites, interactive cds and presentations, physical computing, interface
designs, information design, video editing, and animated sequences.

References
Curran, S. 2000. Motion Graphics: Graphic Design for Broadcast and Film.
Gloucester: Rockport
Makela, P. Haycok, London and Blackwell, L. 1998. Whereishere. California: Ginko
Press
Street, R. 1998. computer Animation: A Whole New World. Gloucester: Rockport
Norman, D. 1998. The Design of Everyday things. London. MIT Press
Greenfield. A. 2006. Everyware The Dawning Age of Ubiquitous Computing. USA.
New Riders.
<http://www.toxel.com>. Accessed 2009. 2008

Communication III

Aims
a) Manipulate and justify visual communication skills;
b) Critically engage with descriptive and metaphorical associations that different
media may evoke;
c) Communicate design ideas and messages to an Industry standard;
d) Evaluate and justify communication strategies through a range of media and
technologies

Subject Learning Outcomes

By successful completion of the subject at this level the student should be able to:
a) Justify and apply appropriate analog/digital techniques and media to
communicate relevant subject matter and a developed personal style
b) Demonstrate a practical understanding of the difference between readability and
legibility in digital design application
c) Critically engage with, and justify application of design principles and design
elements as they pertain to Multimedia design practice
d) Critique and justify experimentation with established digital technologies and
media, in order to communicate a desired message
e) Demonstrate refined observational and interpretation skills in illustration, using a
variety of media and/or technologies.

Teaching and Learning Methods

Workshop demonstrations
Practical projects
Formal lectures
Group debates/discussions
Critique of work
Programme Outline: Multimedia Design Page 19 of 31

Indicative Syllabus
Exploration of typefaces and their communicative value.
The semiotic relationship between visual and linguistic meaning.
The exploration of the psychology of colour to further the visual vocabulary of graphic
communication in interactive and motion design.
Illustration strategies aimed at developing a means of conceptual and visual
communication.
Photography, video and illustration techniques as visual communication tools used to
supplement the conceptual and manual processes of image making.
Clarity of communication of concept and relevance of association to a desired target
audience

Project Examples
The clarity of the communicative strategies as defined by design principles, elements
and technologies applied to multimedia campaigns, interactive websites, interactive
cds and presentations, physical computing, interface designs, information design,
video editing, and animated sequences.
Communications III, as a subject, will be integrated into most of the projects specified
for Principles and Theory of Multimedia Design III and Technology and Professional
Practice III. Students will also be required to build up a portfolio of illustration, through
class drawing, and specified exercises.

References
Dalley, T. 1984. The Complete Guide to Illustration and Design. London: Book Club
Ass.
Lucas, G, Dorrain, M. 2006. Guerrilla Advertising Unconventional Brand
Communication. London. Laurence King Publishing Ltd.
Baines P, Haslan A. 2002. Type & Typography. London. Laurence King Publishing
Ltd.
Klien, N. 2002. No Logo! Picador. New York
Simon Cooper. 2002. Technoculture and Critical Theory: In the Service of the Machine? London:
Routledge
Linda Carroli. 1997. Virtual Encounters: Community or Collaboration on the Internet?
in Leonardo 30 (5). New York: The MIT Press.

Technology and Professional Practice III

Aims
a) To realise the potentials of existing and other relevant technologies
b) To provide students with the skills necessary for entry into the industry.
c) Use industry related technologies and have an understanding of technical
troubleshooting
d) To effectively apply time/resource management skills;
e) To effectively apply professional presentation skills.

Subject Learning Outcomes

By successful completion of the subject at this level the student should be able to:
a) Demonstrate a professional attitude towards, and engage critically with,
presented design output (such as content managed websites and animated
corporate identity systems)
b) Critically craft and manipulate digital/interactive design output according to
professional level expectations (with special attention to detail in final
presentations, including spelling, image quality, grammar, and finish)
c) Demonstrate practical competence in design applications relevant to chosen
design industry (including Flash, Photoshop and AfterEffects)
Programme Outline: Multimedia Design Page 20 of 31

d) Research and apply existing technologies which reflect an understanding of

professional design practice (such as the scope and limitations of augmented
reality application in physical environments)
e) Organise, document and apply resource management strategies (time
management, team work, contact with lecturers, use of library facilities and
computers, etc) developed throughout the year
f) Locate own design practice within the Multimedia design profession and other
creative production industries, and reflect on its implications on personal
development

Teaching and Learning Methods

Formal Lectures
Excursions
Computer Training
Individual and Group Presentations

Indicative Syllabus
This subject teaches the students to locate themselves within the professional
industry and brings them up to the industry standards and expectations. The projects
demand technological skills that are appropriate to the market they are entering.
Specific Multimedia training will mean that the students enter the industry with the
appropriate knowledge and practice that is demanded of them and be able to
troubleshoot technical problems. . As the industry largely dictates the software with
which the students will be working, the specific software programmes will be
reassessed each year. Students will be producing finished projects using the
following software programmes:
Adobe Flash
Adobe Dreamweaver
Audacity
Adobe Soundbooth
Adobe Illustrator
Adobe Photoshop
Adobe After Effects
Blender

Project Examples
The practical execution and professional presentation of projects as applied through
exercises in print and specialised computer software, oral presentations, written
rationales, storyboard presentations, animation and motion graphics and exercises in
programming languages appropriate to project development such as Actionscript,
PHP, ASP and JAVA. Such application would be incorporated into projects such as
multimedia campaigns, interactive websites, interactive cds and presentations,
physical computing, interface designs, information design, video editing, and
animated sequences.

References
Cotton, B. and Oliver, R. 1994. The Cyberspace Lexicon. London: Phaidon
Garrett, M. 1997. Understanding Hypermedia 2.00. London: Phaidon
Danielson, R. 2001. Flash animation and DHTML. Gloucester: Phaidon
Lunenfeld, P. 2000. Snap To Grid: A Users Guide to Digital Arts, Media and
Cultures. London: MIT Press
Meggs, P. 1999. FotoGrafiks: David Carson, California: Ginko Press
Price, S. 1996. Media Studies. Harlow: Longman
Stansberry, D. 1998. Labyrinths : The Art Of Interactive Writing And Design.
California: Integrated Group
Colson, R. 2007. The Fundamentals of Digital Art. Switzerland. AVA Publishing
Programme Outline: Multimedia Design Page 21 of 31

OSullivan D, Igoe T. 2004. Physical Computing Sensing and controlling the

Physical world with Computers. USA. Thompson Course Technology
Zittrain, J. 2009. The Future of the Internet--And How to Stop It. USA. Caravan Books
(free version available at: www.jz.org)

Critical Studies III

Aims
a) Demonstrate an understanding of advanced visual culture theory as it applies to
traditional discourse on Marxian media studies; feminist and post-colonial and
post-human theory discourses in relation to design and visual culture. Evaluate
and critique tradition visual culture discourse in emerging theoretical dialogs,
effects and affects.
b) Source, analyse and implement research data to inform a critical argument
c) Be able to situate an argument within various discourses addressing design and
visual culture
d) Structure and communicate knowledge clearly and logically in writing following
GDC prescribed referencing style format
e) Demonstrate an internalization of theory in their design practice

Subject Learning Outcomes

By the successful completion of this subject, the student should:
a) Demonstrate an understanding of advanced visual culture theory as it applies to
Marxian media studies; feminist and post colonial discourses as well as post
humanist theories in relation to design and visual culture
b) Source, analyse and implement research data to inform a critical argument
c) Be able to situate an argument within various discourses addressing design and
visual culture
d) Structure and communicate knowledge clearly and logically in writing following
GDC prescribed referencing style format
e) Demonstrate an internalization of theory in their design practice

Teaching and Learning Methods

Two hour lecture slots will centre primarily on lecturer prepared PPPs. Each lecture
covers a specific area of study relating directly to the thematic focus in this module. A
weekly one hour tutorial slot will enable smaller group discussions and focused study
of prescribed learning material. Discussion Groups will encourage observation, verbal
skills, analysis and personal response. Students are required to complete compulsory
preparatory reading for the weekly tutorial slots which will be submitted for
assessment. Research Projects will take the form assignments (written, oral and
work-shopped) projects requiring reading, research, observation and analysis of
selected examples of visual culture manifestations. Students must look beyond the
recommended tutorial work and reading list for appropriate resource material to
augment and personalise the research process. Additionally students will develop
skills in the exposition of hermeneutic textual analysis as well as guidance in
referencing style, argument development and written expression.

Indicative Syllabus
The 3rd year syllabus orientates students towards the theoretical consequences of
the Marxian media, postcolonial visualality and gender studies that they undertake in
second year. The themes, as outlined below, critically investigate and debates
traditional and current discourse in relation to design practices, methodology and
theory.

Theme 1: Visual Culture Studies, Art history and Critical Studies

Programme Outline: Multimedia Design Page 22 of 31

As an introduction to level III critical studies this theme request developing designers
to critically reflect on positions of design practises/methodology within the discourse
of art history or visual culture. This entails investigation of inherent and destabilised
hierarchies of art, popular culture (design) and consumer culture specifically in the
advent of digital reproduction. Thereby this theme consults seminal text of Theodor
Adorno, Walter Benjamin and Deborah Cherry

Theme 2: Post-colonial theory

The notions of post colonialism are grounded within South African visual culture as a
post apartheid milieu. This theme stresses critical awareness of design practices as
they produce functions in a specific context, with its own history, beliefs and
responsibilities. Notions of the other are discussed in relation to the voice of the
traditional Eurocentric subject, the oriental and primitive. The key precepts of this
theme are contextualised in reference to key works of Gayatri Spivak, Edward Said
as well as South African postcolonial theorist.

Theme 3: Gender
The history of gendering is rooted in the medical and psychoanalytical diagnoses.
This anthology is influential and prescriptive to the gendering process of visual culture
and design practices. This entails investigation pertaining to gazing practices as
outlined by Laura Mulvey - and requires critically reflection upon design practises as
vehicles of mobilising objectified images. Gender discourse contextualises feminist
methodology and visualise as well as alternative dialogs. As such this theme consults
theorist such as Jill Doland and Judith Butler.

Theme 4: Modernism and Postmodernism

This theme contextualises Modernist and Postmodernist movements as manifest in
society with emphases placed on visual arts movements and design practices. The
theme establishes the importance as well as implications of key concepts such as the
project of modernity and the dialectic of enlightenment post-modernism. This theme
consults the texts by Jrgen Habermas Ferrari and Adorno. Within this theme visual
culture, post colonialism and feminism are charted within a modernist to postmodern
discourse. Finally this theme opens dialog to emerging discourse which are
contextualised in theme 5.

Theme 5: Post humanism

Post humanism explains the differences and overlaps between society& technology.
This theme provides insight to socially responsible design in computer mediated
communication. As an introduction to cyber culture and post human discourse the
theme required to contextualisation of previously knowledge of visual culture studies,
post-colonial discourse, gender studies and postmodernism. As such this theme
consults seminal text by Dona Haraway as well as theorist such as Fred Turner and
Kathryn Hayles

References
Theme 1
Kellner, D. 1995. Media Culture: Cultural Studies, Identity and Politics Between the
Modern and the Postmodern. London: Routledge.
Adorno, T. 1991. The Culture Industry. London: Routledge.
Benjamin, W. 2001.The Work of Art in the Age of Mechanical Reproduction. In Media
and Cultural Studies Keyworks, Durham, M. G. & Kellner, D. M. (eds.). Oxford:
Blackwell Publishing.
Cherry, D. 2004. Art history and Visual Culture. Art History. 27(4)
Harris, J. 2001. The new art history a critical introduction. London: Routledge
Walker, J. & Chaplin, S. 1997. Concept of the visual in Visual Culture: An
introduction. Manchester: Manchester university press.
Programme Outline: Multimedia Design Page 23 of 31

Theme 2
Crang, M. 1998. Self and Other in Cultural Geography. London: Routledge
Hall, S. 1997. The spectacle of the other in representations: cultural representations
and signifying practices. London: Sage Publications.
Jacobs, S and Wasserman, H. 2003. South African Media in Shifting Selves: Post-
Apartheid essays on Mass Media, Culture and Identity. Jacobs, S & Wasserman, H
(eds). Cape Town: Kwela Books
Maritz, L. 2010 Chapter 4: Thrice Othered in Thrice Othered: a critical analysis of the
representations of lesbians in the world unseen. Germany: LAP LAMBERT
Academic Publishing
Spivak, G, C. 1988. Can the Subaltern Speak? inMarxism and the Interpretation of
Culture. Eds. Cary Nelson and Lawrence Grossberg. Urbana, IL: University of Illinois
Press
Theme 3
Butler, J. 1999.Preface (1999) and Preface (1990) inGender Trouble. New York:
Routledge
Dolan, J. 1988. The feminist Spectator as Critic in Theatre and Dramatic Studies
Mekgwe, P.2010 Post Africa(n) Feminism? In Third Text, Vol. 24, Issue 2,
Mulvey, L. 1989. Visual Pleasure and Narrative Cinema: Visual and Other Pleasures .
Bloomington and Indianapolis: Indiana University Press.
O Shaughnessy, M and Stadler, J.2005. Media and Society: an Introduction.
Australia: Oxford University Press
Theme 4
Ferraris,M 'Postmodernism and the deconstruct of modernism'
Habermas, J. Modernity-An Incomplete Project in Postmodern Culture (ed Hal Foster)
Horkheimer and Adorno, T. The Culture Industry Enlightenment as Mass Deception
(kellner)
Theme 5
Cooper, S. 2002. Technoculture and Critical Theory: In the Service of the Machine?
London:Routledge.
Devoss, D. 2000. Rereading Cyborg(?) Women: The Visual Rhetoric Of Images Of
Cyborg (And Cyber) Bodies On The World Wide Web* In
Cyberpsychology&Behavior. Volume 3, Number 5,
Ebeling, M. 2003. The new dawn: black agency in cyberspace. RadicalHistory
Review 87 (Fall): 96108.
Hansen, M. B. 2004. Digitizing the racialized body or the politics of universaladdress.
SubStance33(2):107-133.
Haraway, D. 1990. A manifesto for cyborgs. Science, technology, and socialist
feminism in the 1980s, in Feminism/Postmodernism. L, J, Nicholson (ed). New York:
Routledge
Hayles, K. H. 2002 Flesh and Metal: Reconfiguring the Mindbody in Virtual
Environments. Configurations 10:297320.
McKenzie, J. 1988. Virtual Reality: Performance, Immersion and the Thaw in TDR.
Vol. 38, No. 4 (winter):83 -10
Rush, M. 2005(1999). New Media and art. London: Thames and Hudson.
Programme Outline: Multimedia Design Page 24 of 31

5. Bachelor of Arts Honours Degree in Multimedia Design

5.1. Programme Structure and Description

On successful completion of the Bachelor of Arts Degree in Multimedia Design, students may
continue with the Bachelor of Arts Honours Degree in Multimedia Design provided that they meet the
admission criteria. The BA Honours Multimedia Design Degree is a 240 credit qualification at NQF
level 8. It can be completed in a minimum of two years, with one year of academic study and one year
of experiential learning. The BA Honours Degree programme can be completed on a fulltime or a part
time basis.

The BA Honours programme is modularised and can be completed in a minimum of two years of full
time study, with the first year focusing primarily on coursework and the second year on Experiential
learning and a research report. In the first year of the two year BA Honours Degree, students are
expected to show self motivation through application of the design process as experienced in their
Undergraduate years of study. This year is focussed on preparing students for both academic and
design leadership. In the second year students are expected to complete an Experiential Learning
module which prepares and exposes them to an understanding of the demands of the working
environment. Students are monitored during this year, and also complete a Critical Studies module.

The fundamental principle of a BA Honours Degree programme, which incorporates both academic
and experiential learning phases, is that on completion of the programme, the student should have
the capacity to operate in variable and unfamiliar learning contexts, requiring responsibility and
initiative; a capacity to self-evaluate and identify and address own learning needs; an ability to
contextualise design practice within a multi-disciplinary framework..

5.2. Aims
a) Produce postgraduate research documentation for practice and theory;
b) Produce a postgraduate body of design work that critically engages on a multidisciplinary level;
c) Be equipped to enter the industry, having developed independence in the managing of the design
process.

5.3. Programme Learning Outcomes

On completion of the programme the student should be able to demonstrate:
a) A well rounded and systemic knowledge base in one or more disciplines and a detailed
knowledge of some specialist areas.
b) An informed understanding of one or more disciplines terms, rules, concepts, principles, and
theories; an acceptance of a multiplicity of right answers
c) An effective selection and application of the disciplines essential procedures, operations and
techniques; an understanding of the central methods of enquiry in the discipline; a knowledge of
at least one other disciplines mode of enquiry
d) An ability to deal with unfamiliar concrete and abstract problems and issues using evidence-
based solutions and theory-driven arguments
e) Well-developed information retrieval skills; critical analysis and synthesis of quantitative and/or
qualitative data; presentation skills following prescribed formats, using IT skills effectively
f) An ability to present and communicate information and options in well-structured arguments,
showing an awareness of audience and using academic/professional discourse appropriately
g) Independently manage the conceptual, design and production process;
h) Create design projects and produce conceptual, original, creative and applicable design
solutions;
i) Interact with the design and production professions in the completion of design and written
assignments;
j) Demonstrate developed research, perceptual and critical skills through the production of a
seminar and a research paper.
Programme Outline: Multimedia Design Page 25 of 31

5.4. Curriculum

Module Credits Year of Study

Graphic Design (Minor) Module 30 One
Graphic Design (Major) Module 60 One
Critical Studies Module A 30 One
Experiential Learning Module 90 Two
Critical Studies Module B (Research Report) 30 Two
TOTAL 240

5.5. Module Descriptors

Graphic Design (Minor) Module

Aims
a) To enable students to produce practical design solutions and develop expertise
in their respective specialist fields;
b) To encourage students to experiment and to push their own conceptual and
skills-based boundaries.
c) To enable students to produce multidisciplinary and practical design solutions
that interrogate and interrupt their current understanding of their field of expertise
d) To broaden their perspective of design practice by contextualising it within areas
of critical theory.

Module Learning Outcomes

On completion of this module the student should:
a) Critically analyse problems and create and evaluate complex solutions;
b) Create conceptually and technically complex and applicable solutions to design
problems;
c) Extend personal conceptual, knowledge and skills based boundaries of design,
production and the design environment;
d) Conduct, evaluate and use research to support design solutions on a social,
environmental, and economic level.
e) Be able to explore multiple perspectives on their chosen area of interest
f) Be able to present convincing and persuasive arguments in a professional
manner that are grounded in a critical theoretical and practical contexts

Teaching and Learning Methods

Directed Studio Work
Group Tutorials
Individual Tutorials
Independent Research and Project Development
Lectures
Presentations/Seminars

Indicative Syllabus
The module addresses and emphasises:
a) the development of a design concept through an understanding of the target
audience, electronic and print production processes and the intended function of
the design;
b) an investigation and development of communication and presentation formats,
skills and techniques appropriate to the subject.
c) an investigation of the relationship between design and research, such as
semiotics and symbolism.
d) an investigation of the visual research methodologies and techniques
Programme Outline: Multimedia Design Page 26 of 31

Where possible in terms of timing, relevance and educational value, student work wil
be submitted for local and/or international competitions.

References
Dunne, S. 1995. Interviewing Techniques for Writers & Researchers. A&C Black Ltd.
London
Bestley, Russel & Nobel I. 2005. Visual Research An Introduction to research
Methodologies in Graphic Design. AVA Publishing. SA
Bartlett, A (Ed). 2001. Postgraduate Research Supervision: Transforming (R)Elations.
Peter Lang Publishing. New York
Prosse, J (ED). 2006. Image Based Research a Source Book for Qualitative
Researchers. Rootlegde
Spiller, N. (Ed). 2002. Cyber Reader: Critical Writings for the Digital Era. Phaidon
Press Limited. London
Bolter, JD & Gromala, D. 2003. Windows & Mirrors : Interaction Design, Digital Art,
and the Myth of Transparency. MIT Press. USA
Bolter, JD & Grusin, R. 2000. Remediation: Understanding New Media. MIT Press.
USA
Lessig L. 2004. Free Culture. How Big Media Uses Technology and the Law to Lock
Down Culture and Control Creativity. The Penguin Press. USA
Lupton, E. 1996. Design Writing Research: Writing on Graphic Design. Princeton
Architectural Press.
Ashworth, Hillary (Ed). 2004.The Business of Graphic Design: A professionals
Handbook. RGD. Ontario
Sherin, A. 2008. SustainAble Handbook: A Handbook of Materials and
Applications for Graphic Designers and Their Clients

Graphic Design (Major) Module

Aims
a) To enable the student to produce a postgraduate body of design work that
contributes to the development of the student and the discipline ;
b) To provide an environment which develops student individuality and
independence
c) To create and document a referenced body of work that inspires debate,
dialogue and the opportunity for future development

Module Learning Outcomes

By the successful completion of this module the student should:
a) Plan, manage, organise and implement the design processes and production
independently;
b) Produce a body of work that shows development of the students skills in
multiple areas of design;
c) Demonstrate the confidence and decision making skills necessary to manage
people and design processes in the workplace;
d) Communicate the process of design, design decisions and design solutions in a
professional manner.
d) Be able to apply appropriate design methodologies based on an exploration of
multiple perspectives on their chosen area of interest
e) Be able to present convincing and persuasive arguments in a professional
manner that are grounded in a critical theoretical and practical contexts
f) Be able to independently and proactively facilitate external critique of their work

Teaching and Learning Methods

Group Tutorials
Individual Tutorials
Programme Outline: Multimedia Design Page 27 of 31

Supervised Studio Time

Independent Research and Project Development
Presentations/Seminars

Indicative Syllabus
The module provides the opportunity and framework for the student to apply the
knowledge, experience and skills gained in earlier programmes of study in an
exploratory, creative and personal manner.

The student is expected to question, develop and address:

a) the nature and characteristics of the negotiated design project/s and to establish
its/their functional, cultural, visual and structural rationale;
b) the detailed requirements of the audience and/or client and an indication that
these needs have been met in the design solution;
c) the relationship between the audience/client needs and the proposed use of
design elements and principles;
d) the development of the design ideas in two and/or three dimensions which
communicate these in a stimulating and appropriate manner;
e) the development of the design ideas into detailed proposals indicating
appropriate materials, media and print and/or electronic production methods

References
Dunne, S. 1995. Interviewing Techniques for Writers & Researchers. A&C Black Ltd.
London
Bestley, Russel & Nobel I. 2005. Visual Research An Introduction to research
Methodologies in Graphic Design. AVA Publishing. SA
Bartlett, A (Ed). 2001. Postgraduate Research Supervision: Transforming (R)Elations.
Peter Lang Publishing. New York
Prosse, J (ED). 2006. Image Based Research a Source Book for Qualitative
Researchers. Rootlegde
Spiller, N. (Ed). 2002. Cyber Reader: Critical Writings for the Digital Era. Phaidon
Press Limited. London
Bolter, JD & Gromala, D. 2003. Windows & Mirrors : Interaction Design, Digital Art,
and the Myth of Transparency. MIT Press. USA
Bolter, JD & Grusin, R. 2000. Remediation: Understanding New Media. MIT Press.
USA
Lessig L. 2004. Free Culture. How Big Media Uses Technology and the Law to Lock
Down Culture and Control Creativity. The Penguin Press. USA
Lupton, E. 1996. Design Writing Research: Writing on Graphic Design. Princeton
Architectural Press.
Ashworth, Hillary (Ed). 2004.The Business of Graphic Design: A professionals
Handbook. RGD. Ontario
Sherin, A. 2008. SustainAble Handbook: A Handbook of Materials and
Applications for Graphic Designers and Their Clients

Critical Studies Module A

Aims
a) To further enable students into a personalised engagement with critical and
analytical theory and visual discourse.
b) To further develop competent research and writing skills.
c) To develop and demonstrate an appropriate trans-disciplinary vocabulary and
critical awareness in relation to focussed visual analysis and selected theoretical
and thematic constructs
Programme Outline: Multimedia Design Page 28 of 31

d) To further develop effective theoretical positioning strategies in relation to

focussed visual analysis and purposeful reading which becomes integral to
learning strategies for post graduate research.
e) To hone independent and discursive and applied thinking.

Learning Outcomes
By the successful completion of this module, the student should:
a) An ability to deal with unfamiliar concrete and abstract problems and issues
using evidence- based solutions and theory-driven arguments
b) An ability to present and communicate information and options in well-structured
arguments, showing an awareness of audience and using academic/professional
discourse appropriately
c) Demonstrate a trans-disciplinary pollination and criticality of research ideas,
thoughts and concepts as they filter through the minor and major design
components.
d) Produce a series of course work assignments selected from specified units and
present a preliminary research proposal that indicates depth of research,
criticality and a clearly defined focus area.
e) Demonstrates a competency in the application of an approved referencing style.

Teaching and Learning Methods

Lectures
Independent Research and Project Development
Presentations / Seminars

Indicative Syllabus
In the first quarter students will complete a written assignment selecting from one of
four learning areas:
a) Gendered Space introduces students to ideas based on of the body, gender and
sexuality as a spatial construct within a discipline specific context.
b) Simulacras Conceit: Maintaining the Reality Principle introduces students to the
notion of the hyperreal as outlined and discussed in the writings of Baudrillard.
c) Rhetorics of Design introduces a set of tools with which to analyse the visual
world.
d) Sites and Signs of History, Community and Place students will explore the
concept of history, in the sites and signs of how personal and collective memory
is represented within the contemporary design discourses both locally and
globally.

In the second and third quarter students will select from a further 3 learning areas
and complete work in a final and compulsory area.
a) Psychological underpinnings Dystopia: space and spectacle students are
invited to enter into a dialogue over one or a combination of the issues outlined
in a series of given thematic extracts.
b) Sustainability in design will provide an encompassing definition of sustainability
and situate specific design practises within it.
c) Entangled Identity Multiculturalism vs. creolization and cyborg strategies in
postcolonial representation introduces students to the notion of empowerment
through the acknowledgement of uncomfortable difference, creolization, hybridity
and cyborg identities; and not the celebration of politically correct
multiculturalism and rainbow unity that has plagued local and global contexts.
d) (Compulsory) Visual Component. Drawing, space and public intervention. In this
exercise students will select a public site for creative intervention using the
medium of drawing or two or three dimensional visual imaging in some way.
Programme Outline: Multimedia Design Page 29 of 31

References
Ainley R. 1998. New Frontiers of Space, Bodies and Gender. London and New York:
Routledge.
Ashcroft, B. et al. (eds).1995. The Post-Colonial Studies Reader. London: Routledge.
Bell D. & Valentine G. (Eds) 1995.Mapping Desire: Geographies of Sexuality. London
and New York: Routledge.
Bruno G. (2002). Atlas of Emotion: Journeys in Art, Architecture, and Film. New York:
Verso.
Baudrillard, J. 2001. The Precession of Simulacra. In Media and Cultural Studies
Keyworks,
Danesi, M. 2002. Understanding Media Semiotics. Great Britain: Arnold.
During, S. 2003. The Cultural Studies Reader (Second Edition). London and new
York: Routledge.
Deutsche R. (1998). Evictions: Art and Spatial Politics. Cambridge, Massachusetts &
London, England: The MIT Press
Eco, U. 1979. The Role of the Reader: Explorations in the Semiotics of Texts.
London: Hutchinson University Library.
Ellin N. (Ed) 1997. Architecture of Fear, New York: Princeton Architectural Press.
Grenville, B. 2001. Contemporary World: The birth of the cyborg in The Uncanny:
Experiments in Cyborg Culture, Bruce Grenville (ed). Vancouver: Arsenal Pulp Press.
Lefebvre H. (2001). The Production of Space. Translated by Donald Nicholson-Smith.
Oxford, UK & Cambridge, USA: Blackwell.
Nalbantolu, G. B. et al. (eds). 1997. Postcolonial Space(s). New York: Princeton
Architectural Press.
Said, E. 1978. Orientalism. London: Penguin Books.
Sanders J. (Ed) 1996. Stud: Architectures of Masculinity. New York: Princeton
Architectural Press.
Vidler A. 1992. the Architectural Uncanny: essays in the Modern Unhomely.
Cambridge, Massachusetts & London, England: The MIT Press.
Students must look beyond the recommended reading lists for appropriate resource
material to augment and personalise the research process. It is recommended that
students draw from a variety of primary and secondary research sources.

Experiential Learning Module

The experiential learning component runs for the duration of one academic year (22 weeks)
and is considered an essential part of the BA Honours programme. Each student is assigned
a lecturer/mentor who will liaise with the student and the workplace supervisor with regards
the students work ethic and design performance. The lecturer/mentor is guided by the
Experiential Learning Policy of Greenside Design Center. The lecturer/mentor is guided by
the Experiential Learning Policy of Greenside Design Center. Students are expected to
complete a Research Project and a Logbook as part of the experiential learning.

Module Learning Outcomes

By the successful completion of this module students should:
a) Have an understanding of financial management of design projects including
costing, quoting, tendering, time and resources to design projects
b) Be aware of recent and continuous technological developments
c) Be aware of implications of running a business
d) Be able to manage own performance in the relevant industry
e) B able to link business theory to business environment
Programme Outline: Multimedia Design Page 30 of 31

Critical Studies Module B (Research Report)

Aims
a) To further enable students into a personalised engagement with critical and
analytical theory and visual discourse.
b) To further develop competent research and writing skills.
c) To develop and demonstrate an appropriate trans-disciplinary vocabulary and
critical awareness in relation to focussed visual analysis and selected theoretical
and thematic constructs
d) To further develop effective theoretical positioning strategies in relation to
focussed visual analysis and purposeful reading which becomes integral to
learning strategies for post graduate research.
e) To hone independent and discursive and applied thinking in relation to a
theoretical area of the student own choice.

Learning Outcomes
By the successful completion of this module, the student should:
a) Be able to adopt a critical perspective on design and place an argument within
current discourses addressing social, economical, political or cultural issues.
b) Be able to produce independent research material that contributes to the growing
academic fields surrounding design.
c) Be able to use a wide variety of different resource materials and synthesise the
information into a coherent argument.
d) Have produced a proposal, seminar and research paper that indicates depth of
research, criticality with in a clearly defined focus area.
e) Demonstrates a competency in the application of an approved referencing style.

Teaching and Learning Methods

th
The 5 year critical studies module is a supervision driven process. Students sign a
contractual agreement with a selected supervisor outlining a personalised schedule of
supervision activities.

Indicative Syllabus
Students are required to present and finalise a research proposal and a research
paper (long essay) of approximately six thousand words. The research topics and
areas of study will be driven through individual student research interests as they
apply to their specific design orientations and in consultation with Critical studies
lecturers. Emphasis is placed on personal initiative, research and presentation.

References
Ainley R. 1998. New Frontiers of Space, Bodies and Gender. London and New York:
Routledge.
Ashcroft, B. et al. (eds).1995. The Post-Colonial Studies Reader. London: Routledge.
Bell D. & Valentine G. (Eds) 1995.Mapping Desire: Geographies of Sexuality. London
and New York: Routledge.
Bruno G. (2002). Atlas of Emotion: Journeys in Art, Architecture, and Film. New York:
Verso.
Baudrillard, J. 2001. The Precession of Simulacra. In Media and Cultural Studies
Keyworks,
Danesi, M. 2002. Understanding Media Semiotics. Great Britain: Arnold.
During, S. 2003. The Cultural Studies Reader (Second Edition). London and new
York: Routledge.
Deutsche R. (1998). Evictions: Art and Spatial Politics. Cambridge, Massachusetts &
London, England: The MIT Press
Eco, U. 1979. The Role of the Reader: Explorations in the Semiotics of Texts.
London: Hutchinson University Library.
Programme Outline: Multimedia Design Page 31 of 31

Ellin N. (Ed) 1997. Architecture of Fear, New York: Princeton Architectural Press.
Grenville, B. 2001. Contemporary World: The birth of the cyborg in The Uncanny:
Experiments in Cyborg Culture, Bruce Grenville (ed). Vancouver: Arsenal Pulp Press.
Lefebvre H. (2001). The Production of Space. Translated by Donald Nicholson-Smith.
Oxford, UK & Cambridge, USA: Blackwell.
Nalbantolu, G. B. et al. (eds). 1997. Postcolonial Space(s). New York: Princeton
Architectural Press.
Said, E. 1978. Orientalism. London: Penguin Books.
Sanders J. (Ed) 1996. Stud: Architectures of Masculinity. New York: Princeton
Architectural Press.
Vidler A. 1992. the Architectural Uncanny: essays in the Modern Unhomely.
Cambridge, Massachusetts & London, England: The MIT Press.

6. Version History

Version Date Effective Approved By: Nature of Amendments

Control
2 January 2012 Quality Assurance Minor formatting amendments in line with
Facilitator policy standards
3 January 2012 Head of Academic Amendments to workload and Critical
Planning Studies indicative syllabus