Syllabise

and Courses
Reading

BFA (Graphic Design) Part-I Examination

4 Year Programme Annual System
APPENDIX 'A'

Paper I English (Compulsory)

Paper II Introduction to Visual Arts (Art Appreciation)

Paper III Islamic Studies/Pak. Studies (Compulsory)

 Paper IV Test of Drawing
Paper V Advertising Design
Materials to be supplied by the University. The examination
work will be the property of the University.
Paper VI Exhibition of work

Paper VI: Minimum number of works to be sub-mites for the exhibition.

DRAWINGS
(In pencil, Pen and Ink, Charcoal, Pastel, etc).
Life I) drawing. 6
Other Drawings. 2
ADVERTISING DESIGN
Layout and Typography
Colour Charts 3
Basic Designs
Posters
Packages 2
Lettering Charts 2
Arabic Calligraphy 2
GRAPIIIC ARTS
Lino-cut 1
Wood-cut
Lithography 1
Scraperboard 1
ENLARGED PHOTOGRAPHS 4
ANATOMICAL DRAWING
PERSPECTIVE DRAWING
SKETCH BOOKS-
Paper ICompulsory English I: Language in Use.
Paper Il: Introduction to Visual Arts-I (Art Appreciation):

Course objectives

This course is designed to develop student's perceptual and conceptual skills through
the history of visual arts and aesthetics.
Week 1
1 . Introduction to perception o
Perceptual Model
• Objective and Subjective Reality
• Class discussion on Visual and Conceptual and intellectual faculties of mind
Week 2
2. Classification of Intellectual Levels
3. Introduction to Visual and Time Arts
, What is Art
Difference between Humanities and Sciences
Difference between Artifact and a Work of Art
Categorizing Visual Arts
Iluman Enterprise
Week 3
4. 'l'he Functions of Art
I inioyment
• Political and social commentary '
Pherapy

Week 4
5. El'ypes of Criticism
Intrinsic Criteria
IExtrinsic Criteria
Week 5
6. Critical Method o
Introduction o
Analysis
Interpretation
Evaluation/Judgment
Week 6
7. Formal And Contextual Analysis
8. Elements of Visual Art

• T ine
Color
Texture
• Mass/Volume
Form
Space/Perspective
Chiaroscuro
Week 7
9. Principles of Visual Arts
Plan
Balance
Focal Area
Harmony
Variety
Rhythm
Unity of Composition
Week 8
I Difference between two dimensional and three dimensional Arts
Painting e
Sculpture
Architecture
Week 9
I l . Reading the Space and time in Visual Arts
Week 10
12. Styles in Arts
Classical
Renaissance
Baroque
Week Il
Neo-Classicism
Romanticism
 Realism
Week 12
Impressionism
Neo-Impressionism
Post-Impressionism

Week 13
Abstract Art/ Cubism
Dadaism
Surrealism
 Futurism
Week 14
13. Art and Nature Week 15
14. Art and Beauty
Week 16
15. Art and Religion

Suggested reading:
l . Acton, Mary. Learning to look at Paintings. London: Routeledge, 1997.
2. Arnheim- Rudolph. Art and Visual Perception: A Psychology of the Creative Eye,
Berkeley: University of California Press, 1989.

3. Canaday, John. What is Art? New York: Knopf, 1990.

4. Frampton, Kenneth. Modern Architecture: A Critical History (-3 r ed.). London: l'hames
and Hudson, 1992.
5. I-inn. l)avid. How to look at Sculpture. New York: Harry N. Abrams, 1989.
6. Giedion, Siegfried. Space, Time and Architecture: the Growith of a New tradition
(5 th cd.)
7. Rasmussen, Steen Eiler. Experiencing Architecture. Cambridge, MA: MIT Press, 1984.
8. Sporre, l)cnnis J. "I"he Art of Theatre. Upper Saddle River, NJ: Prentice Hall, 1993.
9. Reality through the Arts (3 rd ed.). Upper Saddle River, NJ Prentice llall, 1997.
10. l"hc Creative Impulse (5 th ed.). Upper Saddle River, NJ: Prentice Hall, 2000.
I l . Yenawine, Philip, How to look at Modern Art. New York: I-larry N. Abrams,
1991.

Paper Ill Pakistan Studies

.
Paper IV Test of Drawing
This course seeks to develop the basic skills of observation and drawing
through a systematic study of models and still life under different light
condition. The students are encouraged to develop their skills in understating
volumes, shapes, forms and colors.
Paper V Basic Design
Basic design serves as a bridge to all studio courses in the freshman
curiculum. It involves the understanding and manipulation of the formal
elements of the visual language. In this course, point, line, shapes and texture
are discussed in terms of the visual dynamic they set up. A variety of
materials are employed as students investigate design principles involving
balance, repetition, pattern, proportion and scale and their relationship to
various compositional formats.

Suggested readings:

l . Jane Dunnewold, Watson - guotill, Art Colth: A guide to Surface

Design for Fabric, Published on: 2002-11-01.
2. Pepin Press, Repeating Patterns 1100- 1800 (+ CD-Rom) (Multilingual
Edition) Published on: 2008-08-30.

33
 Pepin Press, Fancy Designs 1920 (Agile Rabbit Editions) Published
on: 2003-09-29.
4. Pepin Van Roo_jen, Embroidery (Agile Rabbit Editions) Published
on: 2009-01-31.
5. Pepin Press, Wallpaper Design (Agile Rabbit Editions) Published on:
2005-11-30
6. Pepin Van Roojen, Baroque: Patterns (Agile Rabbit Editions)
Published on: 2006-03-30.
7. Pepin Press, Japanese Patterns (Agile Rabbit Editions) (Spanish
Edition) Published on: 2002-01-31.
Paper VI Exhibition of Work
Color and Texture:
Aims and objective:
During this course the students are introduced to more complex exercise and
tool for design including the use of color and textures in design and 3D forms
for specific themes/expressions to develop creative/imaginative thinking and
formal presentation techniques.
Methodology:
Students will learn color and texture development techniques through practice
and create simple thematic textile designs for apparel and interior

3%
on paper. The students will be given weekly assignments and will be working
under supervision of the instructor throughout the week.
1. Linda Johansen, Fabric Dyers I)ictionary: 1 Colors, Specailty tchniues,
The only Dyeing Book you'll Ever Need! C & Publishing, Published on:
2010-05-16.
o. lilin Noble, Dyes & Paints: A Hands-()n Guide to Coloring Fabric,
Published on: May 2003.
Ruth issett, Colour on Cloth: Create Stunning Effests Wilh Dye on Fabric,
Batsford; Reprint edition, Published on: 2()09-05-05.
4. Holly Brackmann, Surface Designer's Handbook: I)yeing, Printing
Painting and Creating Resists on Fabric, Interweave Press, Published on:
2006-10-06.
5. Lena Crowing, Printing by Hand: A Modern Guide to printing with
Ilandmade Stamps, Stencils and Silk Screens, S TIC Craft/ Amelanie
Falick Book: Spi edition, Published on: 2008-08-01.
Material and Environment:
Aims and objective:
This course aims at the understanding of nature and properties of material
used in Textile Art in relation to its environment. Visits to different local craft
sites and lecture/discussion by outside experts from the case of this course.
Methodology:
Students will learn different materials and environment 10 develop designs
through practice and create 31) soft sculptures. 'l'he students will be given
weekly assignments and will be working under supervision of the instructor
through out the week. Suggested readings:
l. Estel Vilaseca, Cutting-Edge Patterns and El-extures (Book & CD Rom)
Published on: 2008-04-01.
o. Joe Earle, From Yale University Press, Serizawa: Master of Japanese
'l'extile Design, Published on: 2009-10-20.
Kim 'Ihittichain, Experimental Textiles: A Jorney Through Design,
Interpretation and Inspiration, Published on: 2009-09-01.
4. Sarah E. Braddoxk Clarke, Marie C)'Mahnoy, Techno Textiles 2:
Revolutionary Fabrics for Fashion and Design (Bk. 2) Published on:
2008-01-28.
5. Melanie Bowles, Ceri Isaac, I)igital 'I'extile Design: Portfolio Skills
(Portfolio Skills: Fashion & Textiles) Published on: 2009-05-06.
6. Cole I Drusilla, Patterns: New Surface Design, Published on: 2007-05-

7. R I)esign (agile Rabbit Editions) Published on:

8. Pepin Van Roojen, Baroque: Patterns (Agile Rabbit Editions) Published
on: 2006-03-30.
9. Pepin press, Japanese Patterns (Agile Rabbit Editions) (Spanish Edition)
Published on: 2002-01-31.
10. Drusilla Cole, Textiles Now, Published on: 2008-10-08.
Introduction to Computers:
Aims and Qhjgctive:
Through this course the students understand the basic of hardware and soft
ware memory systems, files and the use of internet. They are introduced to
basic word, adobe photo shop, coral draw, power point etc.

35
Methodology:
Students will learn basic computer techniques of adobe Photoshop to develop
designs through practice and create digital designs. The students will be
given weekly assignments and will be working under supervision of the
instructor through out the week.

36
 BFA (Graphic Design) Part-Il Examination
4 Year Programme Annual System
APPENDIX 'A'
Marks
Paper I English (Compulsory) 3 Hours 100

(i) Communication skills 40 Marks

(ii) Advanced Academic reading and Writing 60 Marks

Paper Il Art Appreciation Il 3 Hours 100

Paper Ill Techniques of Printing-I (Graphic Arts) 3 Hours 100

Paper IV 'l'echniques of Printing-Il (Commercial Printing) 3 1-lours 100
e

Paper V l'est of I)rawing 3 days 150

3 hours per day
Paper VI Composition (Graphic Media) 6 Days 200
3 hours per day
The University will supply primed hard-boards
2 1/2' *42' Size and tempers or oil colours to the candidate. The
painting will be property of the University.
Paper Exhibition of work 250
Total 1000
Minimum number of work to be submitted for the Exhibition.
Paper VIl
DRAWING In Pencil, Pen and Ink, Charcoal, pastel, etc.
Life Drawings 6

Animal Drawings 2

Nature Drawings 2
COMPOSITIONS: Illustrated Dummies. 4
Fair Dummy 1
Book Illustrations 4

And their Book Jackets 4

In the following Media:(i)
Photography
(ii) Miniature
(iii)Woodcut
(iv)lntaglio
(v) Lithography
(vi)Poster„colour or Goauche
Posters

37
GRAPHIC ARTS Copper-Engraving 1
Etching 1 Advertisements
Drypoint Packages
Aquatint 1 (Photography to be used in
SKETCH BOOKS Advertisements and
Packages)
Lettering Charts. 2
Arabic Calligraphy. 2
BOOK BINDING: Single Section 1
Photographic Album 1
Portfolio
APPENDIX 'B'
(Syllabi and Courses of Reading)
Paper IEnglish (Compulsory):
Paper Il Art Appreciation — I (Ancient Civilizations).
Art Appreciation-I Evolution of Art
(Ancient Civilizations) Egyptian
Western Asiatic
Indus Valley Civilization
Greek
Roman
Buddhist
l)rawing Pencil, Pen and Ink, Charcoal, Pastel, etc.
Life and still-life
Plant and Nature Drawing
Perspective
Anatomy
Painting (Oil, Water-colour and Gouache)
Portrait and life painting
Still-Life painting
Landscape Painting
Modeling and Plaster casting Clay, Plaster
Graphic Arts Wood-cut and Lithography Reference books:
Dawn of civilization by Grahame Clark (Thames and Hudson): History of
Architecture by Sir Banister Fletcher.
Egyptian Architecture, Sculpture, Painting by K. Lange and M.
I lirmer.
Greek Painting by Martin Robertson.
Greek Sculpture by R. Lullies and M. Hirmer.
Roman Painting by Amedeo Maiure.
Roman Sculpture (From Augustan to Constantine by Arthur Strong L.L.D.
Indus Civilization by Sir Mortimer Wheeler.
Buddhist Art of Gandhara by Sir John Marshall. Indian
Art by K. Bharatha Lyer.
Fine Art in India and Ceylon by Vincent Smith.
Anatomy and drawing by victor petard.
Perspective as Applied to pictures etc. by Rex Vicat Cole. Modeling
and Sculpture by A. Toft.
The Materials and Methods of Sculpture by . J.C. Rich.
Sculpture Principles and Practice by Louis Slobodkin.
Wood-carving by Skeaping (Studio Publication).
History of Wood-Engraving by Dougles Percy Bliss.
Graven Image by John Farleigh.
How to draw and print lithographs by Adolf Dehn and Lawrence Barrett.

Paper Ill Techniques of Printing-I: (Graphic Arts).

Autographic Methods and their History Relief
Printing
Intaglio Printing
Plano graphic Printing
 Paper IV Techniques of Printing-Il.
PART 'A' PHOTOGRAPHY. 50 Marks Brief History of Photography:
Photography in modern life. Problems of Photography. Pin-hole Camera. The Camera.
Choice of Camera.
Developers and Fixing Solutions for Black and White Photography:
The reduction of latent image.
(i) Visual observation. Inspection of the negative.
(ii) The factorial system and temperature at constant
Dilution
(iv)Dilution and Temperature at constant time.
The measurement of the contrast of negative. Developers. Printing paper Developers.
The hypo-fixing solution. Camera lenses and diaphragms:
Some properties of light. Lens formula. Methods of measuring Focal Length.
Equivalent focus and back focus. The angle of view. Types of lenses used in
photography. The effective aperture. Circle of confusion, depth of field and hyper
focal distance.
Aberrations of lenses:
Barral and pincushion. Chromatic aberration. Curvature of Field. Astigmatism,
Coma Effect. Distortion. Sphereical aberration. Camera
Shutters and shutter speeds:
Function of shutter. Shutter Mechanism. Methods of making shutter speed test. Shutter
speed's correction.
Properties of Photographic Emulsion:
The emulsion. Preparing of the emulsion. Theory of the latenat iamge.
The Processes of Development:
The phases of development. The developing processes. Chemical constituents of a
developer. The effect of temperature on developer.
The control of negative contrast:
The growth of density with the tone of development. The
scale of tone reproduction verses contrast.
Printing processes:
Negative and positive process. Tone reproduction with printing paper. Processing
developing Paper.
Printing Paper Developer:
The chemical constituents of a printing paper developer. Soft and Contrast developers.
Potassium Bromide and its uses.
"Phe tempureature of the Paper Developer. The developer formulas for printing paper.
Colour Characteristics of Light filters and Films:
Subject contrast depends on colour and brightness intensity. Color sensitive emulsions and
light filters. Filter material.
Enlarging and projection Printing:
Advantages and disadvantages. The Projection Printer. Negative and characteristics of
enlarging. Choice of Projection paper. Print contrast measuring. Exposure and
Developing a projection paper. Selecting the proper grade of paper. Projection print
control. Tone contrast by local printing or dodging. Diffusion Screens.
"I'he Preparation of lantern and film strips:
Pictures by projection. Lantern slides. The contact film slide printer. Making a t rail lide.
Intensification and reduction:
'l'he need for intensification and reduction. Method for intensification of silver image.
The chromium intensifier. The effect of repeated intensification. Effect on grain size.
 Intensification by change of colour. The three classes of reducer. The subtractive a
surface cutting reducer. The proportional reducer. The super proportional or
flattening reducer.
r
roning processes:
Method for adding colour in photographs. The application of colour by hand. The
toning process. Sepia toning by direct developing. The choice of print for toning. PART B:
METHODS OF PRINTING: 50 Marks
History of Paper.
Paper and its uses.
An outline knowledge of the methods of graphic reproduction in black and white
including line and screen block making. Photolithography and screen process printing.
Basic differences between letter press and offset printing.
Advantages and disadvantages of Photo-Offset process. Knowledge of terms
employed in the different processes and principle of tdne reproduction in black and
white.
Photoengraving:
Qualities required in black and white originals. An outline knowledge of line and
Half-tone black and white negative making.
Camera Operating:
Illumination of original, selection and control of light sources. Desirable qualities in
line originals, fine line reproduction. Half-tone theory. Half-tone screens. Filter
factors. Half-tone Photography by Direct and Indirect Processes for black and white.
Selection of sensitive emulsions black and white.
Photolithography history and funda mentals of lithographic process.
Difference between lithography, Photo-lithography, offset and Photo-offset. Printing
down and preparation of printing plates.
Surface and deep-etch methods.
Silk-screen printing outline knowledge of the process.
Production of photographic stencils, Characteristics of the stencil process for black and
white.
Paper V Test of Drawing.
(Pencil, Pen and Ink, Charcoal, Pastel, etc.)
Life and still-Life.
Animal Drawing
Nature Drawing
Paper VI Composition:

(water-colour, Poster-colour, Tempera, etc.)

Basic pictorial design, Book illustration in
all media.
Advertising design
Poster, Advertisement, Book-Jackets. Lettering
and Calligraphy.
Photography for Advertising
Book Binding
Single section book-binding, Photographic Album and portfolio Making.
Graphic Arts
Copper-Engraving, Etching, Drypoint, Aquatint.
Paper VIl Exhibition of Work:
Reference Book:
 The Story of Art by Gombrich.
Meaning of Art by Herbert Read.
Humanities by L. Dudley and A. Faricy.
Elementary Typography by Bernard Rogers.
Writing and Illumination and Lettering by Edward Johnston.
Modern Lettering and Calligraphy by Rath bare Halen.
History of Wood-Engraving be Douglas Percy Bliss.
Graven Image by John Farleige.
How to Draw and print Lithographs by Adolf Dehn and Lawrence Barrett.
New Ways of Gravure by S.W. Hayter.
Modern Methods and Materials of Etching by Henry Sternberg.
Bookcraft and Book Binding by John Mason.
Some Notes on Book binding by Douglas Cockerell.
Fine Art in India and Ceylon by Vincent Smith.
Indian Temple Sculpture by A. Goswami.
Fundamentals of Photography with Laboratory ' Experiments by Paul E.
Bucher.
Photography. Its Materials and Processes by C.B. Noblette.
Photolithography (Latest Edition) by Bruce E. Tory.
Photo Engraving in Relief by W. G. Smith, E.L. Turner and C. D. Hallen.
Ilford Manual of Process Work (Lastes) by Ilford Ltd. Silk Screen Process
Production by Sir Isaac Newton.

92
BFA (Graphic Design) Part-Ill
Examination
4 Year Programme Annual System
APPENDIX 'A'
l'.here will be two parts as under: Marks
Paper I Advertising and Printing Management
Part Photography 375Hours
Narks 150

Part Methods of Printing 75 Marks

Paper Ill rest of Drawing 3 days 150

3 hours per day
Paper IV Book Illustration and Advertising 30 Days 200
3 hours per day
The month's project will be to illustrate a book in any
 Paper Il Techniques of Printing-Ill
_3 I lours 150
(Countercall Printing)

l'he university on the advice of the Examiners will

provide the book to be Illustrated and advertised.
Materials to be supplied by the University. The
examination work will be the property of the tJniversity.
Paper V Exhibition of work 250
'Total

Paper V Minimi.lm number of works to be submitted för the Exhibition.

DRAWING (In Pencil, Pen and Ink, Charcoal, pastel, Water-colours).

Graphic Art media. (6 illustration and advertise it),
Life Drawings 6
Animal Drawings 3
Nature Drawings
GRAPHIC DESIGN Illustrated Book
(for reproduction by photoAitho)
Illustrations 6
Book-Jacket
MAGAZINE:
Layout 1
Advertisements 2
Illustrations
Magazine cover 1
(2 items for the magazine to be carried out in photography)
PROJECT Symbol 1
Poster 1
Calendar or Barochure
Newspaper Advertisement 1 Magazine
Advertisement 1
Packages 2
(2 items of project must be carried out in Photography)
COLOURED PHOTOGRAPHS:
CllARTS OF EXPRESSIVE WORDS:
Sketch books:

APPENDIX 'B'
(Syllabi and Courses of Reading)

Paper IAdvertising and Printing Management:

Introduction to advertising:
What is advertising?
Growth of advertising
Research preparatory to advertising:
 Product and Brand, What is product, product analysis, selling points of product, image of
a product, the competitors, brand loyalty.
The Consumer:
What is a consumer, product consumer relation, consumer classification, consumer
and his buying actions, fact finding about consumers, interviews, motivation
research, projective techniques. combination research.
Factors influencing demand:
Psychological factors:
The self, the concept of self image, consumer attitudes, individual differences in
consumers emotions.
Sociological Factors:
Imitation and suggestion, the family, household consumption, family buying
trends, opinion formations, occupational attitudes, fashion, sex and class fidstinction,
literacy and education, religion. Economic Factors:
Various income groups, the price and value, the price and buying decision. The
Advertising agency: Functions, working and organization:
Functions

"Perms of business, handling of clients: planning a compaign, finalizing.

Working of an advertising agency:
.1"he working of Art Director
Copy Writer
Accounts executive
Media man
Artists
Traiffic and production man
Organization:
Managing the departments, studio, copy, traffic, mechanical, media.
An outline of accounts, production orders, art department charges, printing orders,
space charges, discounts and commissions. An outline knowledge of the following
budgetary control of client's advertising expenditure and budgetary control of agency
operations, Public Relation.
Advertising for special purposes:
Industrial Advertising, Retail
Advertising,
Cooperative Advertising.
Free-Lance designer:
Contract and designers Brief:
Costing and Estimating:
Factory Management in relation to Printing ()utline. Study of Law related to
Advertisement and Printing Industrial Law, Labour Law of Pakistan, Copy rights etc.
Reference Books:
l . Dep. Basic Marketing E.W. Cundiffand R.R. still.
2. Principles of Advertising by Daniel Starch.
3. Advertising Agency, Organization and Accounts by A. Essex-Crosey.
4. Modern Advertising by Harry Walker Hepner.
5. Consumer Behaviour and Behavioural Sciences by Stewart Handerson Britt.
6. An ()utline of Advertising by Walter A. Gaw.

Paper Il Tcchniqucs of Printing-111:

(Commercial Printing) Part 'A': (Photography).
Properties of Photographic Emulsions:
"Cheory of the latent image. The visible image. Measurement of the density. The
relation between exposure and density. The characteristics of emulsion. The
latitude of emulsion. -rhe reciprocity law. Additive system of Photographic
exposure.
e
l'he cOntrol (if Negative Contrast

['he method of controlling negative contrast. Control of contrast by varying the time
o.f development. Contrast control by variation in the dilution of the developer.
Printino Process:
Contrast control in a print (long and short scale papers). Fitting the papers to the
negative. ()lher printing Processes.
Colour characteristics of Light Filters and Films:
"I*he measurement of filter factor. Light filter transmission characteristics. The use of
light filters.
"l'hc preparation of Lattern and Film strips for Projection:
Film slides from small negatives. Exposing the negatives. Developing the negatives.
Film slide material. The film reel for developing the positive roll. The film slide developer
and fixing baths. Contrast and projection density, projecting a film and lantern slide. I)ye-
staining processes:
Red tones. Blue green tones. Blue tone, Dye staining and dye toning of bromide prints.
Colour Photography:
Early work in colour photography. The three qualities of colour. The additive and
subtractive methods of mixing colours. Additive colour processes. Subtractive colour
processes. Reversal processes, colour prints from colour transparencies. Colour separation
negatives for use in dye transfer. Koda colour process and colour prints. Colour correction
by masking. Black and white print from colour transparencies by intermediate negatives.
Motion Picture Photography:
Mechanics for producing the illusion of motion. The movie-camera mechanism.
Lenses ancl view finders. The reversal process, equipment, formulas and techniques.
Projection equipment. Editing and titling the film. The meaning of composition. I
low the eye sees a picture. Creating illusion in the third dimension. Shadows
highlights and rhythm.
Part 'B': Method of Printing:
Print quality and printability.
Ink formation, colour fading of print. Selection of suitable inks for different types of
work.
An outline knowledge of the methods of graphic reproduction, including line and
screen block making, photogravure, photolithography, collotype and screen process
printing in colour.
Basic difference between letter-press and offset printing rcproduction.
Knowledge of terms employed in the different processes and principles of tone
reproduction in colour. Means of identifying the process by which a print has
been reproduced. Suitability of each process for various purposes.
Photoenoraving Qualities required in originals for coloured reproduction.
Colour separation and colour masking. Filter and filter factors. Printing on
metal, line etching, tint laying and colour line-work, half-tone etching in color.
Camera Operating, I lamination of original, selection and control of light sources
for coloured orioinals.
 Qualities required in colour-transparencies for reproduction. Selection of sensitive
emulsions and filters for colour reproduction. Screen angles, screen negative making
for tricolor and four colour processes. Fundamentals of colour correction masking.
Photolithography colour work in Line and Half tone.
Advantages of deep etch plates over surface plates.
Photogravure.
General description of the process and outline of its hist01Y. Nature of carbon
resist, carbon printing and etching of line and simple tone subjects. Advantages
and disadvantages of photogravure.
Silk Screen Printing
Outline knowledge of the process. Production of Photographic stencils.
Characteristics of the process. Advantages and disadvantages of the silk screen
process.
Collotype Photographic Work.
Preparation of the dichromate gelatin and the printing plate. The nature of the printing
surface.
Estimating for the designer
Paper 111 Test of Drawing

(Pencil, Pen and Ink, Charcoal, Pastel, Water-colour etc.)

Life and Still life
Animal Drawing
Nature Drawing
Paper IV Book Illustration and
Advertising

(Water Colour, Post Colour, Tempera.) Wood

engraving. Lithography, etc.
Book Illustration in all media.
Advertising design
.Posters, advertisements. Book Jackets.
I.;ettering and Calligraphy.
Photography for Advertising:
Paper V Exhibition of Work

Reference Books:
Silk Screen colour Printing by Harry Sternberg.
Fundamental of Photography with Laboratory experiments by Pual E. Bucher.
Photography. Its Materials and processes by C.B. Noblette.

(16
Photolithography (Latest Edition) by Bruce E. rrory.
Photoengraving in Relief by W. G. Smith, E. L. Turner and C. D. Hallen.
llford Manual of Process Work (Lates) by Ilford Ltd., Silk Screen process
production by Sir Isaac Newton.
 BFA Part-IV (Graphic I)esign)
4 Year Programme Annual System
APPENDIX 'A'
M arks
Paper I I listory of Design 00

Paper Il Commercial Printing (Design Managelnent & Planning) 100

Paper Ill Advance Photography (I)igital Imaging) 100

Paper IV I 'est of Drawing 150

Paper V Course work 250
Ä
Paper VI 200
.1hesis Exhibition & Research Report
Total

APPENDIX 'B'
(Syllabi and Courses of Reading)

PAPER I History of design

Acquainting students with the major milestones in Graphic Design history gi
ves them a perspective of where graphic design fits the spectrum of Art
History, Technology and Modern Aesthetics. Suggested reading:
l. Wilder, Jesse Bryant (2007). Art History for Dummies. Canada: Wiley
Publishing, Inc.
2. A Concise History of Graphic Design, Themes & Hudson, 1970.

Paper Il Commercial printing (I)esign Management & Plannine):

I'llC course will be focusing on éffcctive planning of designing & printing

project initiation to completion. Course will include advising on scope,
buying & selling strategy, objectives and organizational structure of an ad
agency including marketers, media personnel- art director and creative team:
preparing design brief, establishing project financial structure, developing and
monitoring project execution plans, media selection and media execution plan
and establishing communication routes and infonnation management
proccclures along with all the technicalities and difficulties of pre press and
design requirement for printing press. Suggested reading:
l. Miller, R Anistalia, & Brown, Jared M. (1998). What Logos Do and
How 'They Do it. China: Rockport.
2. Rathor, B. S. (1984). .Advertising Management. Bombay: Himalaya
Publishing House.
Russell, J. 'l'homas, & Luanc, W. Ronald (1 993). Kleppner's
Advertising Procedure (12 th Ed.). United States of America: Prentice
Hall International.
4. Drew- John, & Meyer, Sarah (2()()6). Color Management (ör I ,ogos: A
comprehensive Guide for Graphic Designers Switzerland; Rot vision.
5. Hornuno, I)avid (2()()5). Color: A Workshop for Artists and Designers.
United Kingdom: Laurence King Publishing Ltd.
 6. Vartanian, Ivan (2()03). Typo Graphics: 'l'he Art and Science of Fype
Design in Context. Switzerland: Rot Vision.
7. Moore, Rodney J. (2()()4). Design Secrets: Layout 5() Real-Life Projects
Uncovered. United States of America: Rockport.
8 Pipes, Alan (2()()1). Production for Graphic Designers (3 rd _l-long
Kong: Laurence King Publishing.
9 Stewart, Bill (1 993). Signwork: A Craftsman's Manual (2 '1 ( 1 Ed.)
London: Blackweel Scientific Publications.
10. I,ynch« John (1955). Mobile l)esign. New York: Studio-Crowell.
I I . Adam, Robert, & Robertson, Carol (2003). Screen printing: '['he
conuolete Water Based System. London: 'I'hames & Iludson.
12 Sims, Mitzi (1991 Sign Design: Graphics, Materials, rrechniques. I
,ondon: Thames & Hudson.
13. Silver, Linda (Ed.). (1995) Print's Best Letterheads & Business Cards 4:
Winning l)esigns from Print Magazine's National New York:
RC Publications Inc.
14. 'l'he l)irect Marketing Creative Gulid. (1985). Direct Maketing Design.
New York: PBC International Inc.

Paper I ll Advance Photozraphy (Digital Imaging):

I 'his course wills emphasis on the creation of digital ilnages. Course includes
the processing, colupression, storage, printing, post production. (re-touching)
and display of images from the mean of digital photography, along with
working on raster basc software. aggested reading;
I Iornung, David (2005). Colour: A Workshop for Artists and Designers, United
Kingd01n: Laurence King Publishing I ,td.
Pipes, Alan (2()01). Production for Graphic Designers (_3 td Ed.). Hong Kong: I
aurence King Publishing.
I 'he Direct Marketing Creative Guild. (1985). Direct Marketing Design. New
York: P BC International Inc.

Paper IV Test of Drawing:

.l"his course will be including drawings both beneficial for graphic
designers and illustrators.

Paper V Course work:

(Communication Design & Book Illustration)

Students will focus on advanced exercises in graphic conununication design, using the
latest coinptltcr software. Moreover, efficient solutions 10 design problen•s and
understandin2 sales pronootion and campaign designing along will be ennphasized during
the course.
Advanced Exercises in Illustration using raster based soft wares will be practiced
during the course. Students will be encouraged to illustrate books for children and
eonvlete understanding of book layout ancl book jacket will be emphasized in this
course usino vector base software.
(Magazine, & Catalogue Design, etc.)
I'his course will focus on the planning of content, designing, rough and fair
du no my, execution, binging and pre press solutions to booklets, Catalogues,
Annual Reports, Prospectuses, Book & Magazine Layouts and Book Jackets.
Suggested reading;
Earls, David (2()02). Designing Typefaces. Switzerland: Rot Vision.
2. Coler- Martin (1990). How to Find and Work With and Illustrator:
Get the Result you Want. United States: North Light Books.
3, Cowley, Don (Ed.). (1989). How to Plan Advertising. London: Cassell
Educational limited.
4. Vartanian, Lvan, & Martin, Lesley A. (2003). Graphiscape: New York City.
Switzerland: Rot Vision,
5. I vewis, Brian (1987). An Introduction to Illustration. New Jersey: Chatwell
Books.
6. (Gorclon, Bob, & Maggie Gordon (Ed.). 2()()2).
The connplete Guide to I)igital Graphic Design.
London: Thanles and Hudson.
7. l*ype Directors Club. (1 994). rrypography 1 5: 'I-he Annual of the Type
Directors Club New York: Watson Guptill Publications.
8. Miller, R Anistatia, & Brown, Jared M. (1998). What Iuogos Do and How They
Do it. China:
9. Rather, B. S. (1984). Advertising Management. Bombay: Himalaya publishing
House.
10 Russell, J. Thomas, & Lane, W. Ronald (1 993). Kleppner's
Advertising Procedure (12th Ed.). United States of Anwrica: Prentice
Hall international.

l l . Drew, John, & Meyer, Sarah (2006). Color Management för Logos: A
C01nprchensive Guide for Graphic Desingers Switzerland: Rot Vision.
12. Orangeseed Design. (20()4). Bringing graphic Design In-blouse: How and
When to Design it Yourself United States of Alnerica: Rockport.
13. Vartanian, Ivan (2()()3). 'l"yop Graphics: el'he Art and Science of Type Design
in context. Switzerland: Rot Vision.
1 4. De Jong, Cees W. , & Purvis, Alston W. , & Friedl, Fredrich (2005). Creative
Type: A Sourcebook of classic and Contemporary Letterforms. Netherlands:
Thames & Hudson.
1 5. l)rew, -John T., & Meyer, Sarah A. (2()()8). Color Managelnent for
Packging: A Comprehensive Guide for Graphic Designers. Switzerland: Rot
Vision.
16. Richardson, Margearet E. (20()()). Type Graphics: The power of type in Graphic
Design, United States of America: Rockport.
1 7. Moore, Rodney J. (2004) Design secrets: l.,ayout 5() Real-Life Projects
Uncovered> United States of America: Rockport.
1 8. Jr. Fred W. Bilhueyer, & Saltznoan, Max (1981). Principles of Color
"l'echnology (2 11d Ed.). New York: John Wiley & Sons.
19. Testa, Bridget Mintz (1996). Graphic Treasures on the Internet. Boston: AP
Professional.
20. Curran, Steve (2()()()). Motion Graphics: Graphic Design for Broadcast and
Film. Unitecl States of America: Rockport Publishers Inc.
21 l.,ynch, John (1955). Mobile Design. New York: Studio-Corwell.
22. Konkow, Robert B. (1989). Design in Motion: fixhibits. New York: P
BC International Inc.

23. Sullivan, Jenny Brochures: Making a Strong Inapression, Untied States of

America: Rockport.
 2/1. 'l'he Black Book Marketing (2001 ), Black Book Illustration 200 1 . United
States of America: Rot Vision.
25. Silver, Linda (Ecl.). (1995). Print's Best Letterheads & Business Cards al :
Winning l)esigns Print Magazine's National Cotupetition. New York: RC
Publications Inc.
26, 'Phe Direct Marketing Creative Guild. (1985). Direct Marketing Design. New
York: P BC International Inc.
27. ()wen, Williatu (1992). Modern Magazine I)esign. United States of Allierican:
Wm. C. Brown Publishers.

Paper VI thesis Exhibition & Research Report:

In the studio based thesis, stuclents will be given a topic of graphic conununication,
inlörmation, advertising or advanced illustration books. 'Phe thesis requires the
students to explore new media and Inake presentation of a considerable body of
original work in various media produced by the sttldents. l'he
research report will cover the (Ollowing:
Part-l-. C01npany Profile, Product Inforlnation, Consumer Profile,
Market Position, Cornpetitors Advertising, Conlpany's own past advertisino
Proposed Advertising Strategy.
Part-Il: Media Plan, Copy Strategy. Visuals, Budgets & Conclusion. Suggested
reading:
,upton, Eilen, & Miller, .J . Abbott (2004). [Design Writing Research: Writing on Graphic
Design. I.,ondon: Phaidon Press Lim ited.