Course Information Instructor Information

Course Code: ADV 3106 Name: Radel Paredes

Course Title: Design Theory (Dialogue in Modern Design Thinking) Office: Department of Fine Arts
Credit: 3 units Email: rdparedes@usc.edu.ph
Pre-requisites: Phone:
Consultation Period:

USC Vision
The University of San Carlos sees:
A WORLD where the darkness of sin and the night of unbelief vanish before the light of the Word and the Spirit of grace.
A SOCIETY where citizens are competent, noble in character, and community-oriented.
What they know, they apply justly and honestly
What they do not know, they seek to learn
What they do not have, they endeavor to acquire
What they have, they share.

USC Mission
The University of San Carlos is a Catholic Institution of learning that embodies the principles of San Carlos Borromeo and the missionary charism of the Society of Divine Word.

We aim to develop competent and socially responsible professionals and lifelong learners in an environment that fosters excellence in the academic core processes of teaching-learning,
research and community extension service.

Our mission is to provide timely, relevant and transformative academic programs responsive to the needs of the local, national, and global communities, in a rapidly changing world.

Program Educational Objectives

Three to five years after graduation, the Carolinian Fine Arts- Advertising Arts graduate is:
PEO 1: An Artist/ Designer/ Planner who has the highest level of design skills, creativity and technical knowledge and is responsible and committed to the enrichment of culture and the
quality of life
PEO 2: A Global Artist/ Designer/ Planner who responds to, critiques, promotes and contributes to industry, community and nation building.
PEO 3: A visual communicator who is professionally competent and effectively demonstrates expertise in the field of specialization
PEO 4: An Artist/ Designer who is a lifelong learner, interminably pursuing in-depth research on design and the arts
PEO 5: An Artist/ Designer/ Planner who is a witness to the word, conveying works of art that express moral values sensitive to the gospel’s mission.

Course Description
This course is an introduction to the key concepts behind modern and contemporary design. It traces the important historical conditions and ideas that gave rise to styles, movements,
and trends in modern and contemporary design.

Program Outcomes
Upon completion of the program, students should have attained the following:
PO 1: Identify and Analyze user or audience needs to conceptualize creative solutions to visual communication problems aligned with contemporary global arts and design standards.
PO 2: Recognize, compose and present work in novel or original configuration drawn from their respective artistic palettes.
PO 3: Develop and design solutions founded on art/design fundamentals, theories and history to address visual communication problems and challenges.
PO 4: Survey and measure arts and design outputs in terms of their aesthetic relevance, ethical standards and communicative efficacy.
PO 5: Navigate and Operate modern tools and technology to optimize art & design solutions.
PO 6: Communicate concepts, ideas, and themes effectively through written, oral and visual forms.
PO 7: Interact and Lead collaborative art and design projects with groups from multicultural background and perspectives anchored in the idea of dialogue and mutual empowerment.
PO 8: Create artworks that promote human dignity, respect for religious beliefs and social justice consistent with the highest ethical standard of their profession expressive of USC Core
Values.
PO 9: Cultivate a culture of curiosity, interest and openness to learning to actualize the entirety of their human potential.
PO 10: Document, archive and curate culturally-rich productions as a way of promoting the wealth of Regional Art and Culture.

Course Outcomes
PO 1 PO2 PO 3 P04 PO 5 PO 6 PO 7 PO8 PO 9 PO 10
Introductory (I) Enabling (E) Demonstrative (D)
At the end of the course, the student is able to:

1. Know the philosophy behind modern, postmodern and contemporary design, E E E E D E D E E D

identify characteristics behind styles and movements, and understand issues
behind current trends. D D D E E D E D E D
2. Execute design projects that reflect knowledge of design theory and philosophy.

Assessment of Outcomes
Midterm Exam (1/3) + Class Standing (Plates) 1/3 + Other Requirements (1/3) = Midterm Grade (MG)
Final Exam (1/3) + Class Standing (Plates) 1/3 + Other Requirements (1/3) = Temporary Final Grade (TFG)
MG+TFG/2 = Final Grade (FG)
 Learning Plan
Week Unit Outcome Topics Objectives Teaching/Learning Activities Assessment Tasks Materials/
Resources
No Internet Intermittent Full Access No Internet Intermittent Full Access
(Courier and self- (Email/Messenge (Canvas / (Manual or (Submission via (Canvas/
paced calls or r/File Repository) Messenger / digitized output Email/ Messenger/
text) Email) via courier to Messenger) Email)
teacher)

Assigned Notes and

In a reading readings in summary of “Meet William
report, the printed modules readings on Morris: The Most
students should or digital files. design journal. Celebrated
be able to To enable Notes and Designer of the
explain early students to summary of Arts and Crafts
define “machine readings on
resistance to Movement”.
impact of aesthetics” and Notes and design journal to
Industrial https://mymodernm
Industrial differentiate it summary of be posted on
Revolution and et.com/arts-and-
Revolution on from its readings on Canvas or
1-2 Design: Arts and crafts-movement-
design and their reactions, identify design journal to Messenger.
Crafts Movement william-morris/
later influence stylistic be posted or sent
and Art Nouveau Assigned
on later modern characteristics, Assigned through Canvas,
readings posted
and and explain the readings posted Messenger or
philosophy
on Canvas or “Arts and Crafts
contemporary on Canvas or email.
behind them.
Messenger Movement”.
movements and Messenger https://www.youtub
trends. e.com/watch?v=tYj
NO2Y4m6c

3-4 To enable Early Students should Design project in Design project in Design project in Manually or Manually or Manually or “Cramsie, P.
students to Modernism: be able to define selected early selected early selected early digitally rendered digitally rendered digitally rendered The Story of
design project of Bauhaus, early modernism, modernist style modernist style modernist style plate to be plate to be plate to be Graphic Design.
plate that reflect Constructivism, differentiate submitted in submitted submitted 175-203.
knowledge of De Stijl, Art major styles and campus through Canvas,
 principles and Deco, movements by repository or sent Messenger or through Canvas Bauhaus”.
characteristics Functionalism identifying their through courier email. or Messenger. https://www.britann
of early modern distinct features, ica.com/topic/Bauh
styles and and explain aus
movements. aesthetic “De Stilj”.
theories behind https://www.thearts
each. tory.org/movement
/de-stijl/

“Art Deco”.
https://www.thearts
tory.org/movement
/art-deco/

“Functionalism”.
https://www.britann
ica.com/art/Functio
nalism-architecture

5-6 In a design Beyond Students should Manual Manual Manual Design journal Photo of design Photo of design “Expressionism:
journal entry, Geometric be able to define sketching in sketching in sketching in sketch to be journal sketch to journal sketch to Architecture &
the students Abstraction: geometric expressionist or expressionist or expressionist or submitted at end be submitted be submitted Examples”.
should reflect Expressionism abstraction and surrealist style surrealist style surrealist style of class and sent through email, through https://study.com/a
knowledge of and Surrealism differentiate it through courier Messenger or Messenger or cademy/lesson/exp
expressionist from or deposited in Canvas Canvas ressionism-
and surrealist expressionist and assigned architecture-
design as surrealist design. campus examples.html
reactions to They should be repository
modernist able to point out “Surrealism and
formalism. their stylistic Design”.
characteristics https://www.vam.a
and explain c.uk/articles/surrea
concepts that lism-and-design
influence them.

“7-8 Students should Midcentury Students should Design project in Design project in Design project in Photos or videos Photos or videos Photos or videos “Design Style 101:
be able to Modernism: be able to define selected selected early selected early of manually or of manually or of manually or International
demonstrate International midcentury midcentury modernist style modernist style digitally rendered digitally rendered digitally rendered Style”.
knowledge of Style, modernism and modern style design project to design project to design project to https://abeautifulm
characteristics Biomorphism, differentiate it be submitted be submitted be submitted ess.com/design-
of postwar Scandinavian from early through courier through email, through style-101-
modernist Design modernism. or deposited in Messenger, or Messenger or international-style/
design in written assigned Canvas. Canvas.
 exams and They should be campus “What is
assigned able to identify repository Biomorphic
projects. major styles by Design?”.
their essential https://hadleycourt.
characteristics com/biomorphic-
and explain the design/
concepts behind
them. “How
Scandinavian
Modern Design
Took the World by
Storm”.
https://www.archite
cturaldigest.com/st
ory/how-
scandinavian-
modern-design-
took-the-world-by-
storm

9-10 Students should 1960s Design: Students should Sketching and Sketching and Sketching and Design journal Photos of design Photos of design “Design in the
be able to Psychedelia, Op be able to define reading report on reading report on reading report on sketch and essay journal sketch journal sketch 1960s.”
create a study Art, and Pop Art and differentiate 1960s styles in 1960s styles in 1960s styles in to be submitted and essay to be and essay to be https://designaddic
of psychedelic major styles of design journal design journal design journal at end of class submitted submitted t.com/design-in-
poster in their 1960s design by and sent through through email, through email, the-1960s/
design journal. identifying their courier or Messenger or Messenger or
distinct features. deposited in Canvas. Canvas. “The Acid
They should be assigned Aesthetic”. A Brief
able to explain campus History of
the principles repository Psychedelic
behind each Design.”
style. https://www.printm
ag.com/post/acid-
aesthetic-history-
of-psychedelic-
design

“Overview of the
Op Art Movement”.
https://www.though
tco.com/what-is-
op-art-182388
 “Design Trend
Report: Pop Art
Design”.
https://creativemar
ket.com/blog/desig
n-trend-report-pop-
art-design

“Where the 1960s

‘psychedelic look’
came from”.
https://www.youtub
e.com/watch?v=9v
uqI2v2IRs

11-14 Students should Postmodernism: Students should Design project in Design project in Design project in Photos or videos Photos or videos Photos or videos “The Dezeen
be able to Memphis, Push be able to define selected selected selected of manually or of manually or of manually or Guide to
reflect Pin Studios, postmodernism postmodern style postmodern style postmodern style digitally rendered digitally rendered digitally rendered Postmodern
postmodern Emgre, in design, design project to design project to design project to Architecture and
aesthetics in a American New differentiate it be submitted be submitted be submitted Design”,
sketch for a Wave, from modernism, through courier through email, through https://www.dezee
design project in Deconstructivism identify its or deposited in Messenger, or Messenger or n.com/2015/07/23/
a plate. general assigned Canvas. Canvas. guide-to-
characteristics campus postmodern-
and articulate the repository architecture-
key ideas behind design-glenn-
them. adamson/

“Memphis Design,
Pop Culture and
the Battle Against
‘Good Taste’”.
https://www.curbed
.com/2017/6/23/15
864234/furniture-
memphis-design-
ettore-sottsass

“Push Pin Studios:

An Introduction”.
http://pushpineffect
.blogspot.com/200
9/11/push-pin-
studios-
introduction.html

“Émigré”.
http://www.designi
shistory.com/1980/
emigre/

“New Wave
Typography”.
http://www.designh
istory.org/PostMod
ern_pages/NewWa
ve.html

Williams, H.
New American
Design: Products
and Graphics for
a Post-Industrial
World. 162-169
(Émigré Graphics),
182-189 (April
Greiman).

“A Deconstruction
of the Old & the
New”.
https://medium.mu
z.li/a-
deconstruction-of-
the-old-the-new-
47ed3a81a66

Blackwell, L. and
Carson, D.
The Grafik Design
of David Carson.

“Modernism vs.
Postmodernism”.
https://www.youtub
e.com/watch?v=f8
EfyhIv72I
15-16 Students should Sustainable Students should Manual Manual Manual Photos or videos Photos or videos Photos or videos Eco-Design
be able to Design/ Eco- be able to define construction of construction of construction of of eco-design of eco-design of eco-design https://www.iberdro
create an eco- Design sustainable and eco-design eco-design eco-design project to be project to be project to be la.com/social-
design project eco-design. They project using project using project using submitted submitted submitted commitment/eco-
using reclaimed should be able to reclaimed or junk reclaimed or junk reclaimed or junk through courier through email, through design-
materials. point out stylistic materials materials materials or deposited in Messenger or Messenger or sustainable-
characteristics an assigned Canvas. Canvas. products
and explain their campus
underlying repository. Postindustrial
principles. Design
http://designplaygr
ounds.com/tv/a-
manifesto-for-
postindustrial-
design/

17-18 Students should Contemporary Students should Design journal Design journal Design journal Design journal Photo of design Photo of design Design Thinking
be able to Trends: be able to define notes and sketch notes and sketch notes and sketch sketch and essay journal sketch journal sketch https://www.interac
conceptualize Design Thinking and differentiate on proposed on proposed on proposed to be submitted and essay to be and essay to be tion-
design project and Human- design thinking design project design project design project at end of class submitted submitted design.org/literatur
that reflect Centered Design theory from using either the using either the using either the and sent through through email, through email, e/article/what-is-
knowledge of human-centered process of process of process of courier or Messenger or Messenger or design-thinking-
design thinking design, identify design thinking design thinking design thinking deposited in Canvas Canvas and-why-is-it-so-
and human- key or human- or human- or human- assigned popular
centered characteristics centered design centered design centered design campus
design. and articulate the repository Human-Centered
philosophy Design
behind them. https://blog.moving
worlds.org/human-
centered-design-
vs-design-thinking-
how-theyre-
different-and-how-
to-use-them-
together-to-create-
lasting-change/

“What is Design
Thinking? An
Overview (2020)”.
 https://www.youtub
e.com/watch?v=gH
GN6hs2gZY

“DevExplains:
What is Human-
Centered Design-
And Why Does it
Matter”.
https://www.youtub
e.com/watch?v=0b
xtEqM2TQU
“Human Centered
Design, Design
Thinking, and
Community
Change”.
https://www.youtub
e.com/watch?v=Y
QWmfaqk

Heller, S. and
Vienne, V. Citizen
Designer:
Perspectives on
Design
Responsibility. 2-
8 (Design as
Social and Political
Force)

References
Books:
1. Lewis Blackwell and David Carson. The End of Print: The Grafik Design of David Carson, rev. ed. San Francisco: Chronicle Books, 2000.

2. Patrick Cramsie. The Story of Graphic Design. London: The British Library, 2010.

3. Steven Heller and Veronique Vienne (eds.). Citizen Designer: Perspectives on Design Responsibility. New York: Allworth Press, 2003.

4. Hugh Aldersey-Williams. New American Design. New York: Rizzoli International Publications, Inc., 1988.

Online Articles:
1. Rikke Fries Dam and Teo Yu Siang. “What is Design Thinking and Why is It so Popular?” https://www.interaction-design.org/literature/article/what-is-design-thinking-and-why-is-it-so-
popular
2. Jamer Hunt. “A Manifesto for Postindustrial Design”. http://designplaygrounds.com/tv/a-manifesto-for-postindustrial-design/
3. Cole Hoover. “Human-Centered Design vs. Design Thinking: How They’re Different and How to Use Them to Create Lasting Change”. https://blog.movingworlds.org/human-centered-
design-vs-design-thinking-how-theyre-different-and-how-to-use-them-together-to-create-lasting-change/
4. Meaghan O’Neal. “How Scandinavian Modern Design Took the World by Storm”. https://www.architecturaldigest.com/story/how-scandinavian-modern-design-took-the-world-by-storm
5. Marc Schenker. “Design Trend Report: Pop Art Design”. https://creativemarket.com/blog/design-trend-report-pop-art-design
6. Patrick Sisson. “Memphis Design, Pop Culture, and the Battle Against ‘Good Taste’”. https://www.curbed.com/2017/6/23/15864234/furniture-memphis-design-ettore-sottsass
7. Emma Taggart. “Meet William Morris: The Most Celebrated Designer of the Arts and Crafts Movement.” https://mymodernmet.com/arts-and-crafts-movement-william-morris/
8. “A Deconstruction of the Old & the New”. https://medium.muz.li/a-deconstruction-of-the-old-the-new-47ed3a81a66
9. “Art Deco”. https://www.theartstory.org/movement/art-deco/
10. “Bauhaus”. https://www.britannica.com/topic/Bauhaus
11. “Design Style 101: International Style”. https://abeautifulmess.com/design-style-101-international-style/
12. “De Stilj”. https://www.theartstory.org/movement/de-stijl/
13. Eco-Design: How to Manufacture Sustainable Products to Satisfy Consumers https://www.vam.ac.uk/articles/surrealism-and-designhttps://www.iberdrola.com/social-commitment/eco-
design-sustainable-products
14. “Émigré”. http://www.designishistory.com/1980/emigre/
15. “Expressionism: Architecture & Examples” https://study.com/academy/lesson/expressionism-architecture-examples.html“Functionalism”. https://www.britannica.com/art/Functionalism-
architecture
16. “New Wave Typography”. http://www.designhistory.org/PostModern_pages/NewWave.html
17. “Overview of the Op Art Movement”. https://www.thoughtco.com/what-is-op-art-182388
18. “Push Pin Studios: An Introduction”. http://pushpineffect.blogspot.com/2009/11/push-pin-studios-introduction.html
19. “Surrealism and Design”. https://www.vam.ac.uk/articles/surrealism-and-design
20. “The Acid Aesthetic”. A Brief History of Psychedelic Design.” https://www.printmag.com/post/acid-aesthetic-history-of-psychedelic-design
21. “The Dezeen Guide to Postmodern Architecture and Design”. https://www.dezeen.com/2015/07/23/guide-to-postmodern-architecture-design-glenn-adamson/
22. “What is Biomorphic Design?” https://hadleycourt.com/biomorphic-design/

Videos:
1. “Arts and Crafts Movement”. https://www.youtube.com/watch?v=tYjNO2Y4m6c
2. “David Bowie’s Collection of Memphis Group Art at the Modernism Museum”. https://www.youtube.com/watch?v=SC1O03GCssU
3. “Helvetica”. Gary Hustwit (dir.). PBS, 2007.
4. “Objectified”. Gary Hustwit (dir.). PBS, 2007.
 5. “DevExplains: What is Human-Centered Design-And Why Does it Matter”. https://www.youtube.com/watch?v=0bxtEqM2TQU
6. “Human Centered Design, Design Thinking, and Community Change”. https://www.youtube.com/watch?v=YQWmfaqk2mw
7. “Modernism vs. Postmodernism”. https://www.youtube.com/watch?v=f8EfyhIv72I
8. “The Origin of the 80s Aesthetic”. https://www.youtube.com/watch?v=TCI8lPvr6SM
9. “Where the 1960s ‘psychedelic look’ came from”. https://www.youtube.com/watch?v=9vuqI2v2IRs
10. “What is Design Thinking? An Overview (2020)”.
https://www.youtube.com/watch?v=gHGN6hs2gZY

Prepared by: Radel Dela Costa Paredes, MPhil, MA Cin Studies Approved by: Ivy Miriam Castro, MA
Date Submitted: 25 July 2020 Chair, Department of Fine Arts
Date Approved:

Rubric 1: Written Exam / Report Presentation

Quality Level 1.0 – 1.7 1.8 – 2.4 2.5 – 3.0 3.1 – 4.0

Descriptor Proficient Adequate Needs Improvement Poor

ANALYSIS: Degree of comprehension
of lessons or topic and the ability to
apply it in the critique or evaluation of
design work or assigned reading.
(1/3)
Excellent understanding of theory and
very good use of logical argumentation
in the critique or evaluation of a work
or reading. Analysis reflects no or very
little errors in interpretation or
digressionary ideas.
Grasp of lessons is generally
satisfactory with minimal errors in its
application in the analysis of design
work or assigned reading. A few
digressionary ideas may be noted in
the analysis.
Some errors in the articulation of
results in flawed argumentation and
interpretation. The student’s work
shows some incoherent or irrelevant
ideas. Still, overall analysis shows
acceptable level of theoretical grasp
and critical ability.
Very little to total lack of knowledge of
lessons or topic results in
misinterpretation or failure of analysis.
The work is largely incoherent or out of
focus.

RESEARCH: The range of appropriate Very targeted selection of sources and Sources and data gathered are largely The work shows some irrelevant or Very little sources and data gathered
sources and data gathered to support data used in the student’s written work appropriate with few being less inappropriate sources or data used but and most of them are not appropriate
the student’ arguments and discussion. or presentation and mastery of formats relevant. Some technical errors in overall research work is acceptable. in the discussion. The student’s writing
of attribution and other methods of writing are noted but overall work Errors in the use of format are noted shows a lot of errors and incoherence
(1/3) research. owing to lack knowledge of research

EXPOSITION: The level of
competence in expository writing or the
capacity to articulate concepts clearly.
This includes mastery of language and
a good sense of style.
(1/3)
Rubric 2. Design Plate
Quality Level
Descriptor
CONCEPT: Choice of form or style is
fit for content or purpose and reflects
good sense of design history. It may
also refer to clarity and simplicity of
message and the use of visual wit in
the work. (1/3)
DESIGN: Quality of composition
appropriate for concept. (1/3)
EXECUTION: The level of skill or
competence in the use of tools and
materials to produce the work. It
includes creative presentation or the
proper display and curation of the
finished work. (1/3)
The student’s work is able to explain or
argue well in words that reflect good
choice. The student has good
command of grammar and economy of
words.
1.0 – 1.7
Proficient
Choice of form and style is appropriate
for function or intended idea. Message
is clear and clever or witty.
The work reflects very good
understanding of the principles of
composition and the elements of
design.
The works demonstrates mastery of
technique or the skillful use of tools
and materials. Attention to detail is
evident in finishing and presentation.
shows sufficient knowledge of
research format required.
Competent writing skills are evident
although in a few parts the work may
reflect superfluous or confusing
wording, resulting in a lack of clarity
and simplicity.
1.8 – 2.4
Adequate
Form is mainly consistent with content
with few digressionary elements or
details. Message is clear and use of
visual wit is evident but lacks strong
impact.
Composition is good with few elements A lot of digressing elements and
and details not contributing to organic details results in visual clutter that
unity.
Technique or use of tools and
materials is good but finished work
lacks polish or shows a few rough
edges.
but the work still demonstrates
satisfactory knowledge of research.
The student’s writing is tedious to read
due to poor sentence and paragraph
construction, wrong or inappropriate
choice of words, punctuation problems,
and grammatical errors. Still what the
student is trying to say can be
discerned.
2.5 – 3.0
Needs Improvement
The use of form is not very consistent
with content or idea resulting from a lot
of stylistically inappropriate or
digressionary elements and details.
Message is barely recognizable and
lacks wit.
weakens design theme.
Some rough areas or parts crudely
rendered in the work demonstrates
insufficient skills in the use of tools and
materials. Haste and negligence is
also evident in display and
presentation.
principles and methods. Varying
degrees of inadvertent or deliberate
plagiarism may also be noted in the
worst cases.
Writing tends to be too personalistic or
subjective with inappropriate use of
colloquial language. The text is replete
with grammatical errors, misspellings,
wrong choices of words, redundancies,
and vague thoughts that result in lack
of clarity or coherence.
3.1 – 4.0
Poor
Disconnect in form and content results
in incoherence as a lot of stylistic
elements and details don’t contribute
or negate design theme. Message is
vague and baffling.
The work is too cluttered and lacks
underlying form or order. It suggests
poor knowledge of design principles.
Rendering is too rough and crude
making the work looks unfinished. This
suggests little knowledge of technique
in the use of tools and equipment.