Module Descriptors
FINDING YOUR AUDIENCE
TOON50001
Key Facts
Digital, Technology, Innovation and Business
Level 5
20 credits
Contact
Leader: Gareth Cowlin
Email: Gareth.Cowlin@staffs.ac.uk
Hours of Study
Scheduled Learning and Teaching Activities: 40
Independent Study Hours: 160
Total Learning Hours: 200
Pattern of Delivery
- Occurrence A, Stoke Campus, UG Semester 1
Sites
- Stoke Campus
Assessment
- Portfolio of Work weighted at 70%
- Topical Cartoon Illustration weighted at 30%
Module Details
MODULE LEARNING OUTCOMES
1. EXHIBIT AN UNDERSTANDING OF THE LIMITS OF PERSONAL KNOWLEDGE AND INVESTIGATION WHEN APPLYING APPROPRIATE LEARNING STRATEGIES, SUCH AS RESEARCH AND DEVELOPMENT IN THE PRODUCTION AND CREATION OF A FINAL PIECE OF WORK
2. EVALUATE POTENTIAL SOLUTIONS TO A RANGE OF DESIGN PROBLEMS AND TO ARRIVE AT AN APPROPRIATE RESOLUTION WITH AN ACHIEVABLE GOAL
3. DEMONSTRATE A PLANNED STRATEGY AND REASONED ARGUMENTS IN THE RESOLUTION OF A NARRATIVE BRIEF
4. IDENTIFY AND INTERPRET THE PERCEPTION OF A PIECE OF ART WORK BY A SPECIFIC TARGET AUDIENCE. DEMONSTRATE SKILLS OF ENQUIRY AND ANALYSIS IN RELATION TO THE GENRE
5. PRODUCE A CLEARLY STRUCTURED PIECE OF WORK WHICH ARTICULATES THE THEORETICAL CONTEXT AND CONCEPTS ASSOCIATED WITH THE GENRE.
2. EVALUATE POTENTIAL SOLUTIONS TO A RANGE OF DESIGN PROBLEMS AND TO ARRIVE AT AN APPROPRIATE RESOLUTION WITH AN ACHIEVABLE GOAL
3. DEMONSTRATE A PLANNED STRATEGY AND REASONED ARGUMENTS IN THE RESOLUTION OF A NARRATIVE BRIEF
4. IDENTIFY AND INTERPRET THE PERCEPTION OF A PIECE OF ART WORK BY A SPECIFIC TARGET AUDIENCE. DEMONSTRATE SKILLS OF ENQUIRY AND ANALYSIS IN RELATION TO THE GENRE
5. PRODUCE A CLEARLY STRUCTURED PIECE OF WORK WHICH ARTICULATES THE THEORETICAL CONTEXT AND CONCEPTS ASSOCIATED WITH THE GENRE.
MODULE ADDITIONAL ASSESSMENT DETAILS
You will present for assessment a body of work as outlined in the module information pack.
This will include appropriate annotated research and developmental iterations covering a range of projects which are designed to broaden your audience engagement.
Finished visuals presented to a professional standard.
Portfolio of Work:
Submission of a range of short project outcomes along with all appropriate research and development (70%)
[Learning Outcomes 1 - 8]
Topical Cartoon Illustration:
Submission of a range of single panel cartoons along with all appropriate research and development (30%)
[Learning Outcomes 1 - 8]
This will include appropriate annotated research and developmental iterations covering a range of projects which are designed to broaden your audience engagement.
Finished visuals presented to a professional standard.
Portfolio of Work:
Submission of a range of short project outcomes along with all appropriate research and development (70%)
[Learning Outcomes 1 - 8]
Topical Cartoon Illustration:
Submission of a range of single panel cartoons along with all appropriate research and development (30%)
[Learning Outcomes 1 - 8]
MODULE INDICATIVE CONTENT
The module encourages you to develop a range of outcomes which demonstrate the appropriate ways visual narratives can be used to communicate with a range of audiences. You will also be encouraged to consider how a narrative resonates with its intended audience and how that insight can be utilised within your own work.
In addition, by using events both nationally and internationally as a starting point, you will produce and present a range of humorous / satirical illustrations which comment on contemporary themes.
In addition, by using events both nationally and internationally as a starting point, you will produce and present a range of humorous / satirical illustrations which comment on contemporary themes.
WEB DESCRIPTOR
The aim of this module is to broaden the student’s employability by undertaking a range of projects which are targeted to different audiences.
This module also uses events both nationally and internationally as a starting point, and asks them to produce a range of drawn satirical responses.
This module also uses events both nationally and internationally as a starting point, and asks them to produce a range of drawn satirical responses.
MODULE LEARNING STRATEGIES
Studio learning takes place in timetabled sessions with academic staff who introduce key contextual and practice based lectures focused on the development of character design and narrative. Through these initial lectures you will gain an understanding of the core concepts, theory and tools necessary to complete the assignments for the module.
Lectures based around the role that comic imagery has played in the shaping of the UK will give you a better appreciation of the role of the satirical artist. Weekly assignments will be set as part of this component, and students will need to liaison with lecturers and tutors to negotiate these briefs.
Independent study will form the majority of your time "answering the brief." You will demonstrate through evidence of character research, preparation drawings, and scripted narrative and application the processes necessary for completion of an appropriate response to the assignments.
Seminars and group critiques support your studio practice through formative evaluation and will take place at critical points of the semester to review working progress. Summative assessment takes place at the end of the module where work/portfolios will be presented for final assessment.
Designated tutorials will be set up to enable students to discuss their work individually with key members of delivery staff.
Lectures based around the role that comic imagery has played in the shaping of the UK will give you a better appreciation of the role of the satirical artist. Weekly assignments will be set as part of this component, and students will need to liaison with lecturers and tutors to negotiate these briefs.
Independent study will form the majority of your time "answering the brief." You will demonstrate through evidence of character research, preparation drawings, and scripted narrative and application the processes necessary for completion of an appropriate response to the assignments.
Seminars and group critiques support your studio practice through formative evaluation and will take place at critical points of the semester to review working progress. Summative assessment takes place at the end of the module where work/portfolios will be presented for final assessment.
Designated tutorials will be set up to enable students to discuss their work individually with key members of delivery staff.
MODULE TEXTS
Publications:
Brookes, P. 1999. Nature Notes. The New Collection. Political Cartoonist of The Times. Little Brown. London
Berger, J (2008) Ways of Seeing. Penguin Classics
Davis, R., Phoenix, W. and Grist, P. (2011). Nelson. London: Blank Slate.
Gravett, P. and Tate Publishing (Londyn (2013). Comics Art. London: Tate Publishing.
Gravett, P. and John Harris Dunning (2014). Comics Unmasked. London: The British Library.
McCloud, S (2001) Understanding Comics: The Invisible Art. WmMorrowPB
McCloud, S. (2000) Reinventing Comics: How Imagination And Technology Are Revolutionizing An Art Form. HarperCollins
Newman, N. (2013). Private Eye. Aurum Press Limited.
Newman, N. 1988. Spitting Image The Giant Komic Book. Pyramid Books. London
Watterson, B (2001) Calvin and Hobbes Sunday Pages: 1985-1995. Andrews McMeel Publishing
Walasek, H. (2017). The Best of Punch Cartoons: 2,000 classic illustrations. London Prion.
Walker, B. (n.d.). The Comics. New York Abrams Comicarts.
Websites:
https://www.thephoenixcomic.co.uk
https://www.cartoonmuseum.org
https://downthetubes.net
https://www.graphicmedicine.org
http://www.karriefransman.com
https://kathrynebriggs.com
Brookes, P. 1999. Nature Notes. The New Collection. Political Cartoonist of The Times. Little Brown. London
Berger, J (2008) Ways of Seeing. Penguin Classics
Davis, R., Phoenix, W. and Grist, P. (2011). Nelson. London: Blank Slate.
Gravett, P. and Tate Publishing (Londyn (2013). Comics Art. London: Tate Publishing.
Gravett, P. and John Harris Dunning (2014). Comics Unmasked. London: The British Library.
McCloud, S (2001) Understanding Comics: The Invisible Art. WmMorrowPB
McCloud, S. (2000) Reinventing Comics: How Imagination And Technology Are Revolutionizing An Art Form. HarperCollins
Newman, N. (2013). Private Eye. Aurum Press Limited.
Newman, N. 1988. Spitting Image The Giant Komic Book. Pyramid Books. London
Watterson, B (2001) Calvin and Hobbes Sunday Pages: 1985-1995. Andrews McMeel Publishing
Walasek, H. (2017). The Best of Punch Cartoons: 2,000 classic illustrations. London Prion.
Walker, B. (n.d.). The Comics. New York Abrams Comicarts.
Websites:
https://www.thephoenixcomic.co.uk
https://www.cartoonmuseum.org
https://downthetubes.net
https://www.graphicmedicine.org
http://www.karriefransman.com
https://kathrynebriggs.com
MODULE RESOURCES
Drawing Boards
Desk Space.
Computers Workshops with appropriate design software, Photoshop, Illustrator, Painter
Scanners
Internet Access
Wacom Tablets
Photocopier
The Blackboard virtual learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.
Industry / Professional Speakers
Desk Space.
Computers Workshops with appropriate design software, Photoshop, Illustrator, Painter
Scanners
Internet Access
Wacom Tablets
Photocopier
The Blackboard virtual learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.
Industry / Professional Speakers