ASAG1310ADV2310 v2

Word and Image/Art and Design ASAG 1310 / ADV 2310 Jan Term 2015
Professor Michael Corris / Division of Art / Meadows School of the Arts / SMU
What is this course about? Contemporary artists and designers create meaningful,
persuasive, and expressive works using a combination of image and text. These
works of graphic design and art demand to be read as much as looked at. In
every way imaginable, they help to shape the visual culture of our lives, from the
visual appearance of information in print and online to the style of social media
networks. Through the public media of advertising, the public display of art
even architecture and urban planning works combining image and text shape
our experience of the cities in which we live. This course will survey the history
and theory of such works of art and design across the modern and contemporary
period, from the beginning of the twentieth century to the knowledge economy
of our present time. Drawing on case studies from Western and non-Western
cultures and through the application of theory to practice, we will explore the
ideas and processes that enable contemporary artists and designers to create
these works and to disseminate them throughout society. Finally, we will
consider how the significance and power of works of image and text is linked to
the historical interrelationship between artists and graphic designers.
Instructor Biography. Michael Corris is an internationally-recognized artist and

writer on art whose creative work straddles the divide between art and graphic
design. Corris has exhibited internationally and his work which includes
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award-winning, typographically-inspired artists books is represented in

research libraries, museums and private collections throughout North America,
Europe, and Australia. Corris writings focus on the theoretical and practical
relationship between language and visual art; his publications include books,
catalogue essays, chapters in edited volumes, and reviews of modern and
contemporary art exhibitions. He is the author, along with John Dixon Hunt and
David Lomas, of an authoritative work on text and image, Art, Word, and Image:
2,000 Years of Visual/Textual Interaction (Reaktion Books, 2010). In 2013, Corris

was awarded a Gerald J. Ford Senior Research Fellowship by SMU and a research
grant by the Sam Taylor Foundation. A selection of his essays and occasional
writings on art Endless Conversations will be published by Les Presses du
Rel (Dijon, France) in 2015.
The benefits of this course:
Learn in an environment that integrates theory and practice
Fulfill an initial requirement for the Graphic Design Minor
Create compelling and expressive examples of visual communication through

the integration of text and image
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Acquire the skills needed to plan, execute, and present your creative concepts
to an audience of peers and professionals
Explore the historical and theoretical trends that have shaped both art and
design from the early-20th century to the present
Gain expertise in the planning and execution of complex designs using a digital
platform
Broaden your visual intelligence by drawing on resources from art and graphic
design
SYLLABUS
ASAG 1310 / ADV 2310
3 credits/semester
9:00am-Noon & 1:00pm-4:00pm, January 5 9 and 12 14, 2015.
SMU Campus/Plano, Texas. Room to be announced.
Grading Options: This course is not available as a Pass/Fail grading option.
Instructor: Dr. Michael Corris, Professor of Art

Email: mcorris@smu.edu Phone: (817) 823-9239 or (214) 768-3848
During Jan Term, I will be available to meet with students between 4:00
5:00pm, Monday, Tuesday, and Wednesdays. This will be by appointment only.
Why this course? This course, being co-listed in the Division of Art and the
Temerlin Institute for Advertising, will count towards the fulfillment of your
degree credits in the following ways: (1) if you are a BFA or BA Art major, you
may take this course as part of your Additional Art Studies; (2) if you are a
Graphic Design minor, this is a required Core course; and (3) if you are majoring
in any other subject area, or are an Art minor, you may take this course as a Free
Elective.
What will I learn? The work you will be doing in this course is designed to enable
you to draw inspiration from artists and designers of the twentieth and twentyfirst centuries who have explored the use of word and image in their careers.
While this is not simply a course in the history of graphic design or the history of
the artistic genre of word and image, you should leave this course with the ability
to identify, analyze, and evaluate major trends that have shaped word and image
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in art and design. In particular, you will gain an understanding of the issues that
motivate contemporary practitioners in art and design.
This course will help you expand your creative imagination through an
exploration of fundamental conceptual resources and techniques in art and
graphic design. You will gain a basic understanding of the evolving discourse
between art, design, and technology, especially the development of works
employing word and image during our current historical period where
digital/screen-based media appears to dominate our visual experience of the
world. You will also be able to comprehend and evaluate how artists and
designers have gained inspiration from the cross-pollination of their respective
disciplines and developed sophisticated interdisciplinary practices in the course
of their creative practices. You will be able to apply this understanding to the
task of engaging comfortably in discussions addressing the use of word and
image in your own work or that of others. Finally, you will have the knowledge
and ability to produce a short digital publication that exemplifies the use of word
and image in the context of either art or design.
How will I learn? The content of this course is delivered through lectures,
seminars, workshops, practical projects, and peer learning (that is, by student
presentations and other means of interaction between you and your classmates).
While there is no set text for this course, I am making my book Art, Word &
Image: 2,000 Years of Visual/Textual Interaction available, free of charge.

Other required readings will be made available to you via email attachment,
through Blackboard, or through an invitation to download files from Dropbox. All
materials will be available in advance of the first meeting of the course.

How will I be assessed? Your performance in this course will be assessed across
three segments of work, each of which contributes a specific portion of your final
grade. Each assessment segment is weighted differently: critical commentaries =
15%, the examination = 25%, and the coursework project = 60%.
The marks for all these segments will be expressed as a two-place decimal,
ranging from 0.0 to 4.0.
Your final grade in this course is calculated by taking the weighted average of all
the assessments segments.
On your transcript, this grade will be designated alphabetically according to the

following scale: A (4.0), A- (3.7), B+ (3.3), B (3.0), B- (2.7), C+ (2.3), C (2.0), C- (1.7),
D (1.0), and F (0.0).
What are the Assessment Segments for this course?

Student Research Presentations: This is a 15-minute visual presentation (plus a 5minute question and answer segment) based on a theme relevant to this course.
Each presentation should be accompanied by an outline summarizing your
research and the presentation itself should be illustrated with examples of text
and image in art and design. The marks achieved will comprise 15% of your final
grade.
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Examinations: One in-class examination and one in-class writing assignment will
assess your ability to identify and describe key concepts and works of art and
design that employ image and text. Your numerical marks on these examinations
will comprise 25% of your final grade. The date of these examinations may be
found in the Course Calendar, below. Limited notes will be permitted during the
in-class writing assignment only. Students who do not observe these regulations
will be asked to leave the classroom and will receive a 0 for this assessment
segment.
Coursework: A digital publication project in the format of a small book that

employs image and text. The theme of this publication and its specifications will
be negotiated with the instructor and your progress will be supported through
class critiques and individual meetings. Your marks achieved on this piece of
coursework will comprise 60% of your final grade.
What materials are required for this course? You should own, or have unrestricted
access to, a laptop and appropriate design software, such as Adobe InDesign,
Adobe Illustrator, Adobe Photoshop, Adobe Acrobat, Adobe Reader, and
MicrosoftWord. Please visit the Meadows IT office to inquire about the rental or
purchase of these applications.
What is expected of me in this course?

Attendance is mandatory: one (1) unexcused absence carries no penalty, except
for the loss of instruction, which you will be required to make up; two (2)
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unexcused absences will result in your final grade being lowered by one-half
letter grade; and three (3) unexcused absences will result in the lowering of your
final grade by one full letter grade.
Be considerate of other classmates and show up on time for class. Late arrivals
are
disruptive for everyone. Being late to class three times will be considered as one
unexcused absence.
Though the instructor keeps attendance records, it is the students

responsibility to also keep track of their absences and late arrivals. The instructor
may, but is not obligated to, notify the student if their total number of absences
is nearing a critical point that will negatively effect their final grade.
Students are expected to utilize work time during class productively. If a

student leaves class early without approval from the instructor, they will be
marked as absent or tardy even if it is a work in class session or the
instructors lecture is completed before the class period ends.
A PDF file of each lecture will be posted via Dropbox after each class. This is not
an open invitation to miss class; rather, it is to offer you material that you may
refer to in preparation for assignments and the examination.
What becomes of the practical work that I complete for this course? The Meadows
School/SMU may use projects created in this course for the purpose of
promotion. Copies of these materials may also be used in future for instructional
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purposes. In all cases, students will be notified and will retain copyright of their
work.
Academic Honesty and Misconduct. The Honor Code and the SMU Student Code of
Conduct bind you to follow widely recognized standards of studentship and
behavior.
Be aware that plagiarism intentionally or knowingly representing the words or
ideas of another as ones own in any academic exercise is a serious breach of
the Honor Code.
For complete details on the Honor Code and the SMU Student Code, refer to the
University website:
http://www.smu.edu/StudentAffairs/StudentLife/StudentHandbook/HonorCode
Disability Accommodations: Students needing academic accommodations for a
disability must first be registered with Disability Accommodations & Success
Strategies (DASS) to verify the disability and to establish eligibility for
accommodations. Students may call 214-768-1470 or visit
http://www.smu.edu/ALEC/DASS to begin the process. Once registered, students
should then schedule an appointment with the professor to make appropriate
arrangements.
Religious Observance: Religiously observant students wishing to be absent on
holidays that require missing class should notify their professors in writing at the
beginning of the semester, and should discuss with them, in advance, acceptable
ways of making up any work missed because of the absence. (See University
Policy No. 1.9.)
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Excused Absences for University Extracurricular Activities: Because of the intensive

instructional schedule for Jan Term courses, it is recommended that students
refrain from participating in extracurricular activities.
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ASAG 1310 / ADV 2310 Course Calendar / Jan Term 2015

(Note: This calendar is subject to minor changes.)
Monday, Jan. 5
Session #1: 9:00am-12 Noon
Lecture 9:00-9:50am: No Free Reading: An overview of word and image in modern and
contemporary art and design.
Seminar 10:00-10:50am: W. J. T. Mitchell, Word and Image, in R. Nelson and R. Shiff, eds.,
Critical Terms in Art History (1996)
Workshop 11am-12 Noon: Anatomy of a small publication
Session #2: 1:00 4:00pm

Workshop 1:00pm-2:50pm: Planning your publication
Peer Critique 3:00pm-4:00pm
Tuesday, Jan. 6
Lecture 9:00-9:50am: The Power of Print: Bradbury Thompson, Ad Reinhardt, and Saul
Steinberg.
In-Class Online Research Task 10:00-10:50am: Propaganda and Public Information, 1940-1960.
Workshop 11am-12 Noon: Typography in art and design
Session #4: 1:00 4:00pm

Workshop 1:00pm-3:00pm: Selecting Images for Narrative Sequences
Peer critique of work in progress: 3:10pm-4:00pm
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Wednesday, Jan. 7
Lecture 9:00-9:50am: Art Meets Advertising: Public projects of Alfredo Jaar, Jenny Holzer, and
Barbara Kruger.
Seminar 10:00-10:50am: Marshall McLuhan and Quentin Fiore, The Medium is the Massage
and Jennifer Egan, A Visit from the Goon Squad (excerpts), and Lawrence Sterne, Tristram Shandy
(excerpts).
Workshop 11am-12 Noon: Preparing a dummy of your digital publication
Session #6: 1:00 4:00pm

Workshop 1:00pm-3:00pm: The Visual Display of Information: An alternative approach to creating
narratives using text and image.
Peer critique 3:00pm-4:00pm
Thursday, Jan. 8
Lecture 9:00-9:50am: Logophilia: Andy Warhol, Jean-Michel Basquiat and David Diao.
Seminar 10:00-10:50am: Alex Potts, Sign, and Michael Corris, David Diao: Flags of
Convenience, Medals of Honor (excerpts)
Workshop 11am-12 Noon: Applied semiotics: Typologies of text + image constellations.
Session #8: 1:00 4:00pm

Lecture 1:00pm-1:50pm: E Pluribus Unum: The magazine page as metaphor.
In-Class Essay: 2:00pm-3:00pm
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Workshop: Peer critique of work in progress: 3:10pm 4:00pm
Friday, Jan 9
Student Research Presentations 9:00-12 Noon
Session #10: 1:00 4:00pm

Lecture 1:00pm-1:50pm: Fragments of an Outsider: David Carson, Henry Darger and
Raymond Pettibon
Seminar 2:00pm-2:50pm: Situationist International and Art & Language.
Workshop 3:00pm-4:00pm: The Barthesian Relay: Non-linear narrative forms
Monday, Jan. 12
Session # 11: 9:00am-12 Noon
Lecture 9:00-9:50am: Projections: Otto Neurath, Adrian Franks, Marcel Broodthaers, Jenny
Weiner, and Mark Lombardi.
Seminar 10:00-10:50am: The visual display of information: excerpts from the writings of Otto
Neurath and Edward Tufte.
Workshop 11am-12 Noon: Psychogeographies, mapping, and diagrams.
Session # 12: 1:00 4:00pm

In Class Examination 1:00pm-1:50pm: Slide Identification
Peer critique of work in progress: 3:00pm-4:00pm
Tuesday, Jan. 13
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Lecture 9:00-9:50am: Nostalgia and Pastiche: Neville Brody, El Lissitzky and Alexander
Rodchenko
Seminar 10:00-10:50am: Fredric Jameson, Postmodernism or, the Cultural Logic of Late
Capitalism (excerpts).
Student Research Presentations 11am-12 Noon
Session # 14: 1:00 4:00pm

Student Research Presentations (continued) 1:00pm-4:00pm
Wednesday, Jan. 14
Workshop: 9:00am -10:30: Final proofing of text and image digital publication
Workshop: 10:45 12 Noon: Mock presentation session
Session # 16: 1:00 4:00pm

Workshop: 1:00pm 1:50pm: Options for on-line publication:
Final Project Critique: 2:00 4:00pm: With guest artist/designer (to be announced)
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Bibliography
Books (Print and eBooks)
Helen Armstrong, Graphic Design Theory: Readings from the Field (2012)
Lewis Blackwell, The End of Print and the Grafik Design of David Carson (2000)
Michael Bonesteel, Henry Darger: Art and Selected Writings (2001)
Arthur C. Danto, What Art Is (2012)
Johanna Drucker and Emily McVarish, Graphic Design History: A Critical Guide
(2008)
Stephen Eskilson, Graphic Design: A New History (2007)
Steven Heller, Graphic Design Reader (Kindle Edition, 2002)
John Dixon Hunt, Michael Corris and David Lomas, Art, Word & Image: 2,000
Years of Visual/Textual Interaction (2010)
Liz Kotz, Words to Be Looked At: Language in 1960s Art (2010)
Michael Kroeger, Paul Rand: Conversations with Students (2008)
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Ellen Lupton, Thinking with Type (2010)
Philip B. Meggs, Alston W. Purvus, History of Graphic Design (2011)
W. J. T. Mitchell, Iconology (1987)
______, Picture Theory: Essays on Verbal and Visual Representation (1995)
______, What Do Pictures Want? The Lives and Loves of Images (2006)
Josef Mller-Brockmann, Grid Systems in Graphic Design (1996)
Otto Neurath, From Hieroglyphics to Isotype: A Visual Autobiography (2010)
Bradbury Thompson, The Art of Graphic Design (1988)
Edward Tufte, Envisioning Information (1990)
______, Visual Explanations (1997)
______, The Visual Display of Quantitative Information (2001)
John Wozencroft, The Graphic Language of Neville Brody (volumes 1 & 2: 1988,
1994)
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Websites of Artists & Designers or In-depth Articles Online
Neville Brody: http://www.researchstudios.com/
David Carson: http://www.davidcarsondesign.com/
Emigr Fonts & Magazine: http://www.emigre.com/
FUSE: http://www.printmag.com/design-inspiration/the-fuse-box-faces-of-atypographic-revolution/
April Greiman: http://aprilgreiman.com/
Jenny Holzer: http://projects.jennyholzer.com/
Barbara Kruger: http://www.theatlantic.com/entertainment/archive/2012/08/theunsettling-text-driven-world-of-barbara-krugers-belief-doubt/261348/
Otto Neurath: http://plato.stanford.edu/entries/neurath/
Raymond Pettibon: http://www.raypettibon.com/
Karen Schiff: http://karen-schiff.com/
Erik Spiekermann: http://edenspiekermann.com and

http://fontfeed.com/archives/erik-spiekermanns-typo-tips/
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Bradbury Thompson: http://library.rit.edu/gda/designer/bradbury-thompson
Edward Tufte: http://www.edwardtufte.com/tufte/
Jenny Weiner: http://www.forensicfairytales.com/
Bibliographic Websites
http://www.designishistory.com/bibliography/
http://purchase.libguides.com/graphicdesign
Journals and Periodicals
Artforum
Art in America
Frieze
Print
U&lc
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Word & Image
Other Resources
Saul Greenberg , Sheelagh Carpendale, Nicolai Marquardt & Bill Buxton,

Sketching User Experiences: The Workbook
20

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Word and Image/Art and Design ASAG 1310 / ADV 2310 Jan Term 2015

Instructor Biography. Michael Corris is an internationally-recognized artist and

award-winning, typographically-inspired artists books is represented in

2,000 Years of Visual/Textual Interaction (Reaktion Books, 2010). In 2013, Corris

The benefits of this course:

Learn in an environment that integrates theory and practice

Fulfill an initial requirement for the Graphic Design Minor

Create compelling and expressive examples of visual communication through

Instructor: Dr. Michael Corris, Professor of Art

Image: 2,000 Years of Visual/Textual Interaction available, free of charge.

through Blackboard, or through an invitation to download files from Dropbox. All

materials will be available in advance of the first meeting of the course.

On your transcript, this grade will be designated alphabetically according to the

What are the Assessment Segments for this course?

Coursework: A digital publication project in the format of a small book that

What is expected of me in this course?

Though the instructor keeps attendance records, it is the students

Students are expected to utilize work time during class productively. If a

Excused Absences for University Extracurricular Activities: Because of the intensive

ASAG 1310 / ADV 2310 Course Calendar / Jan Term 2015

Workshop 11am-12 Noon: Anatomy of a small publication

Session #2: 1:00 4:00pm

Peer Critique 3:00pm-4:00pm

Workshop 11am-12 Noon: Typography in art and design

Session #4: 1:00 4:00pm

Peer critique of work in progress: 3:10pm-4:00pm

Workshop 11am-12 Noon: Preparing a dummy of your digital publication

Session #6: 1:00 4:00pm

Peer critique 3:00pm-4:00pm

Workshop 11am-12 Noon: Applied semiotics: Typologies of text + image constellations.

Session #8: 1:00 4:00pm

In-Class Essay: 2:00pm-3:00pm

Workshop: Peer critique of work in progress: 3:10pm 4:00pm

Session #10: 1:00 4:00pm

Seminar 2:00pm-2:50pm: Situationist International and Art & Language.

Workshop 3:00pm-4:00pm: The Barthesian Relay: Non-linear narrative forms

Workshop 11am-12 Noon: Psychogeographies, mapping, and diagrams.

Session # 12: 1:00 4:00pm

Peer critique of work in progress: 3:00pm-4:00pm

Session # 13: 9:00am-12 Noon

Student Research Presentations 11am-12 Noon

Session # 14: 1:00 4:00pm

Workshop: 10:45 12 Noon: Mock presentation session

Session # 16: 1:00 4:00pm

Michael Bonesteel, Henry Darger: Art and Selected Writings (2001)

Arthur C. Danto, What Art Is (2012)

Stephen Eskilson, Graphic Design: A New History (2007)

Steven Heller, Graphic Design Reader (Kindle Edition, 2002)

Liz Kotz, Words to Be Looked At: Language in 1960s Art (2010)

Michael Kroeger, Paul Rand: Conversations with Students (2008)

Ellen Lupton, Thinking with Type (2010)

Philip B. Meggs, Alston W. Purvus, History of Graphic Design (2011)

W. J. T. Mitchell, Iconology (1987)

______, Picture Theory: Essays on Verbal and Visual Representation (1995)

Josef Mller-Brockmann, Grid Systems in Graphic Design (1996)

Otto Neurath, From Hieroglyphics to Isotype: A Visual Autobiography (2010)

Bradbury Thompson, The Art of Graphic Design (1988)

Edward Tufte, Envisioning Information (1990)

______, Visual Explanations (1997)

______, The Visual Display of Quantitative Information (2001)

Websites of Artists & Designers or In-depth Articles Online

Neville Brody: http://www.researchstudios.com/

David Carson: http://www.davidcarsondesign.com/