50 illustration minimum requirements are given on page 44. why study at dundee?
With an eye to commercial avenues this course adopts a broad definition of illustration and provides a dynamic and experimental environment for the development of visual ideas.
Illustration aims to address the demand for visual communicators by focusing the curriculum on creativity, authorship and interpretation. We offer a wide range of opportunities spanning book arts, applied design, photography, drawing, printmaking, moving and interactive media. You will also have the opportunity to participate in a foreign study trip.
We help you to embrace traditional and experimental processes underpinned by high-end digital technologies and well resourced printmaking facilities. Illustrators benefit from a unique experience working in a multi-disciplinary environment that offers opportunities to collaborate with other courses.
Illustration is one of three courses that comprise the communication design programme (animation, graphic design and illustration). While following your course in illustration, you will also gain a broad educational experience by being provided with a wide range of opportunities for you to engage with generic communication design issues as well as your pathway choice in illustration. The goal is to deliver agile and flexible graduate designers who have a broad understanding of communication design coupled with deep knowledge and expertise in their chosen subject pathway.
employability
The demand for illustrators has increased as related commercial fields have expanded. Our graduates have gone on to have successful careers in the following fields:
• advertising • editorial • animation • film & television
• online media • curation • publishing • art/design
teaching and assessment
Students in illustration are taught through workshops, lectures, seminars, taught projects, group tutorials, personal tutorials and self-assessment appraisals. Students are encouraged to develop their own directions within assignments and to engage in debate about their work.
The studio practice is supported by contextual studies which underpin the process of intellectual enquiry and encourage critical engagement with the subject.
what our graduates are doing
Marion Deuchars graduated in 1987. She is a freelance illustrator who has illustrated for a range of high profile clients including Harrods, Esquire Magazine, Penguin Books, The Guardian and Jamie Oliver.
Eleanor Meredith graduated in 2006. She is an animator and illustrator who also teaches. Her clients include BBC Learning, The Scottish Executive, The Skinny Magazine, Hotel Bloom and Kettles Yard.
Scott Balmer graduated in 2006. He is an illustrator who has produced work for publications and clients which include The New York Times, The Guardian, Umbro, The Science Council, BusinessWeek, Inc. Magazine and Orange.
programme content • typical degree programme example BDes Honours degree
Advanced entry BDes Honours degree Level 1
> Art and Design (General Foundation) – see pages 44-45
Level 2 > Assignment based projects
> Introduction to technical process
> Introduction to computer aided design
> Creative research methodology
> Contextual Studies Level 3
> Personal programme of study
> Strategic experimentation
> Research and development of ideas
> Cultural experience > Contextual Studies
> Elective modules such as Visual Effects, Comic Art & Graphic Novels, Printmaking etc
> Optional one semester of exchange study at an international institution
www.dundee.ac.uk/prospectus/artdesign
Please note that our courses are refreshed each year therefore the above may be subject to minor changes.
Level 4
> Personal programme of research
> Supporting study elective > Degree Show exhibition
• research • teaching
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156 |
Page 157 |
Page 158 |
Page 159 |
Page 160