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To see all thesis books all thesis books sorted by date , go to:

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Accessing Graphic Design Thesis Books

To search for Yale graphic design thesis books, we recommend using Orbis , instead of Quicksearch.

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For all available Yale graphic design thesis books, use these key words: yale graphic design thesis

For graphic design thesis books for a specific year , add the year-- for instance: yale graphic design thesis 2 017

For a thesis book by a specific designer , add their name-- for instance: yale graphic design thesis ana pinto

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School of Art 2019 – 2020

Areas of study, graphic design.

The graphic design program focuses on the development of a cohesive, investigative body of work, also known as the student’s thesis. At Yale, the graphic design thesis is conceived as a loose framework within which each student’s visual method is deployed across many diverse projects during the two-year course of study. While every thesis project is unique, there are several common features: a focus on methodology, the application of a visual method to studio work, and the organization of the work in a thoughtfully argued written document and a “Thesis Book.”

The individual collection of graphic design work by each student is supported on several levels simultaneously: studio work led by faculty meeting weekly; small six-person thesis groups meeting biweekly; individual sessions with writing and editing tutors; and lectures, presentations, and workshops.

Although the School of Art provides digital lab facilities, all graphic design students are expected to have their own personal computer. Each student has a designated work space in the design studio loft and has access to equipment including bookbinding materials, wide-format printers, a RISO duplicator, Vandercook letterpress, and work spaces in the School of Art buildings. More resources supporting interdisciplinary projects including motion capture and VR are available at the nearby Center for Collaborative Arts and Media. In addition, students draw on the extraordinary resources of Yale University courses, conferences, films, lectures, and museums, and especially the extensive research and rare book collections of Sterling, Haas, and Beinecke libraries.

Each year, up to twelve students are admitted into the two-year graphic design program, and up to seven students are admitted into the preliminary-year program. Two-year-program students are expected to have substantial and distinguished experience in visual studies and related professional experience. Students applying to the preliminary-year program typically have relevant experience in a field of study outside design and demonstrate evidence of visual acuity. After successful completion of the preliminary year, these students automatically continue on in the two-year M.F.A. program.

Credit Requirements

42 credits in area of concentration, including ART 949a, and 18 additional credits, including a minimum of 6 academic credits in courses outside the School of Art.

Typical Plan of Study

Preliminary year, minimum credits.

First Year, Minimum Credits

Second Year, Minimum Credits

Painting/Printmaking

Instruction in the program is rooted in the investigation of painting as a unique genre with its own complex syntax and history. Within this setting, the program encourages diversity of practice and interpretation, innovation, and experimentation.

Approximately twenty-one students are admitted each year. At the core of instruction are individual and group critiques with faculty, visiting critics, and visiting artists. In addition, students participate in a variety of seminars taught by faculty members. The study of printmaking is integrated into the painting program, and a student may concentrate in painting, printmaking, or a combination of the two.

Students work in individual 300-square-foot studios at 353 Crown Street adjacent to Green Hall. Students have access to a printmaking workshop in the Crown Street building, equipped with two etching presses and a lithography press, a fully equipped silkscreen facility, as well as digital resources available in the print studio, throughout the School, and at the Center for Collaborative Arts and Media.

Photography

Photography is a two-year program of study admitting ten students a year. Darkroom, studio, and computer facilities are provided. Students receive technical instruction in black-and-white and color photography as well as nonsilver processes and digital image production.

The program is committed to a broad definition of photography as a lens-based medium open to a variety of expressive means. Students work both individually and in groups with faculty and visiting artists. In addition, a critique panel composed of faculty and other artists or critics meets weekly, as well as for a final review each term, to discuss student work.

The sculpture program offers students the opportunity to develop their work in a supportive environment consisting of critical feedback in a broad array of diverse voices. The field of sculpture includes a varied collection of working methods and outcomes—one set of tools is not privileged over another—creating a healthy and experimental program that mirrors the issues facing artists outside of the institution. Students work independently in individual studio spaces and have access to common areas for the critique of their work. 36 Edgewood houses the sculpture program and has a woodworking shop, a metal shop, and a computer lab, while additional resources are offered by the School of Art and the University at large. No metal-casting or ceramic facilities are available.

The main focus of this program is to facilitate the development of conversation and constructive critique among students and faculty. Our aim is to articulate student work vis-à-vis its own trajectory and in relation to art history and the current moment. This conversation is formally structured to take place one-on-one between students and faculty, in small groups, and within a larger group involving the whole sculpture department.

Approximately ten students are admitted each year.

Lecture Program

Each department has its own visitors program in which professionals from outside the School are invited to lecture or take part in critiques. There is also an all-school lecture program in which ideas of general and cross-disciplinary importance are explored by visiting artists and members of the faculty.

Exhibitions

The School of Art’s galleries in Green Hall and EIK at 32 Edgewood Avenue provide a year-round forum for the exhibition of work by students, faculty, and special guests in the four graduate departments of the School and the undergraduate program. Green Gallery is open to the public daily from 12 noon to 6 p.m. when exhibitions are scheduled. EIK is open during limited hours for specific exhibitions and events. Information: 203.432.2605.

MFA Graphic Design : 2024 Thesis Exhibition

May 13 – 21, 2024

Public opening on Saturday, May 18, 6 to 8 pm 

Featuring: Simon Charwey, Julio Correa Estrada, Yiwei Dai, Sara Duell, Kayla Hawkins, Darnell Henderson, Junyan Hu, Claire Hungerford, Kaming Lee, Siri Lee, Daedalus Li, Lobbin Liu, Xinyi Liu, Neeta Patel, Orlando Porras, June Lihua Yu, Qiang Wang, Ken Wenrui Zhao.

During all other gallery hours, exhibitions are only open to the Yale Community (current ID holders) and their invited accompanied guests.  

Related artists

Simon Charwey

Julio Correa Estrada

Kayla hawkins, darnell henderson, claire hungerford.

Daedalus Guoning Li

Neeta patel, orlando porras, june lihua yu, ken wenrui zhao.

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Hindsight: Fifty Years of the Yale Graphic Design Thesis

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Design instruction in higher education evolved from the prevailing societal concern for building an artistically trained student-citizen who would inform a public through graphic communication and thereby aptly compete in a worldwide marketplace. Suggested Citation: Rosner, T. L. (2019). Design Curricula in Higher Education. In The International Encyclopedia of Art and Design Education (eds R. Hickman, J. Baldacchino, K. Freedman, E. Hall and N. Meager). doi:10.1002/9781118978061.ead070

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MFA thesis exhibition in Graphic Design: and here in

Yale school of art.

View of and here in , Yale School of Art, 2022. Photo: Miraj Patel.

Alvin Ashiatey, Jessica Flemming, Han Gao, Yuan Gao, Miguel Gaydosh, Rok Hudobivnik, Kathryn-kay Johnson, Mengjie Liu, Ana Lobo, Kang Ma, Churong Mao, Hannah Tjaden, Betty Wang, Mike Tully, Immanuel Yang.

The Yale School of Art is pleased to announce the 2022 Graphic Design MFA thesis exhibition and here in , as well as its accompanying website, accessible at andhere.in .

and here in sketches a path between remnants of projects and experiences—from materials and tools, to audio recordings of collective and personal spaces, to the contexts in which work is encountered. Artifacts accumulated in the gallery throughout the duration of the exhibition, distilling activity to form.

The exhibition featured work by 2022 MFA graduates in Graphic Design: Alvin Ashiatey , Jessica Flemming , Han Gao , Yuan Gao , Miguel Gaydosh , Rok Hudobivnik , Kathryn-kay Johnson , Mengjie Liu , Ana Lobo , Kang Ma , Churong Mao , Hannah Tjaden , Betty Wang , Mike Tully , and Immanuel Yang .

The exhibition design and identity was created by exhibiting artists Alvin Ashiatey, Jessica Flemming, Miguel Gaydosh, Rok Hudobivnik, Kathryn-kay Johnson, Mengjie Liu, Mike Tully, and Immanuel Yang, Graphic Design MFAs ‘22.

The Yale School of Art’s annual MFA thesis exhibitions are the culmination of two years of intensive artistic development, showcasing the results of a studio-based education that stresses the significance of critical engagement. In keeping with Yale University’s COVID safety guidelines, the physical installation of the 2022 MFA thesis show in Graphic Design was on view May 13 through May 23, 2022 to current members of the Yale community in the school’s Green Hall Gallery.

Full information pertaining to and here in can be accessed in the school’s developing exhibitions archive .

About the Yale School of Art The Yale School of Art provides students with intellectually informed, hands-on instruction in the practice of an array of visual arts media within the context of a liberal arts university. As a part of the first institution of higher learning to successfully integrate a studio-based education into such a broad pedagogical framework, the Yale School of Art has a long and distinguished history of training artists of the highest caliber. A full-time faculty of working artists in conjunction with a diverse cross-section of accomplished visiting artists collaborate to design a program and foster an environment where the unique talents and perspectives of individual students can emerge and flourish.

The school currently offers graduate degrees, and undergraduate-level art courses to Yale College students, in the areas of graphic design, painting/printmaking, photography, and sculpture.

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Publishing Archaeology

Friday, february 1, 2013, edward tufte and graphics.

• Comparisons : A graphic should show comparisons, contrasts, and differences.
• The Minard map compares the two legs of the campaign, and it also compares the army's progress and army size with temperature data.
• Causality, Mechanism, Structure, Explanation : A graphic should illustrate causality.
• Tufte suggests that Minard's maps is thin on causality, not going beyond the temperature  explanation.
• Multivariate Analysis: A graphic should show many variables.
• Minard's map shows latitude and longitude, army size, the size of the army, the chronology of the campaign, and temperature.
• Integration of Evidence: graphics should combine "words, numbers, images, and diagrams" in clear and explanatory ways.
• Minard's map nicely integrates the graphical and textual.
• Documentation: A graphic should establish its credibilty by citing sources and using other mechanics of scholarly documentation and rigor.
• Not surprisingly, Minard cities his data sources clearly, provides his own name, etc.
• Content Counts Most of All: A graphic should be tailored to present the basic information or ideas of interest. The form of the graphic is less important than its content. 
• Minard did not set out to produce a jazzy graphic, bur rather to illustrate starkly the horrors of war.

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Teaching Architecture to the Masses: Vkhutemas and the Pedagogy of Space, 1920-1930 (2017)

Abstract: My dissertation explores the mass character of early twentieth century design education in Soviet Russia as an essential condition for the modernist paradigm. The Higher Art and Technical Studios in Moscow, known as Vkhutemas (Russian: BxyтeMac, acronym for Vysshiye Khudozhestvenno-Tekhnicheskiye Masterskive) adopted the “objective method” in order to facilitate instruction on a mass scale. The objective method translated contemporary scientific knowledge and abstract visual language into modern design pedagogy. The central figures in this undertaking—the architects and pedagogues Nikolay Ladovsky, Vladimir Krinsky, and Nikolay Dokuchaev—called themselves “Rationalists,” believing that they had devised a “rational” knowledge of form and space based on universal principles and the laws of perceptual psychology. Their colleagues, Vasily Kandinsky, Alexander Rodchenko, Lazar Lissitzky, and Moisey Ginzburg, contributed to shaping the Rationalist doctrine through their theorization, teaching, design, and critiques.

The core curriculum at Vkhutemas was the first venture of its kind to implement an accessible mass design education. It combined nascent industrialized and long-standing academic methods to initiate a new type of pedagogy, which I call universalist. A significant condition of this educational agenda was that the subject itself was deductive and stripped of historicized embellishment, as the principal elements explored in the core curriculum—space, volume, color, plane, and line—were a priori abstract. Since modernism as a sphere of knowledge, was untested at the time, all of the established conventions of existing design education had to be reexamined.

As opposed to the classical training that required knowledge of historical canons, the universalist approach was explorative in nature and built around a continuous feedback between assignments and solutions. The top down academic instruction was recast into a model of open mass education based on active exchange between students and teachers. The thesis examines the way in which the Vkhutemas core curriculum exercises challenged the established canons of academic tradition by replacing it with an open- ended inquiry into abstract form and traces how the resultant architectonic experiments were articulated into architectural and urban projects within the framework of the school’s advanced studios. This universalist educational model is explored through four separate channels—the institution, its research, its pedagogy, and its practice—each grounded in a different set of historical sites. The first chapter of the dissertation focuses on the institution, from its immediate context to its international outreach; the second is grounded within the research organizations and laboratories of Vkhutemas, contextualizing these through the theoretical doctrines and scientific achievements of its time; the third looks inside the classrooms, focusing on the methods and materials of the core curriculum; while the fourth addresses the pedagogy and practice of architecture, shifting its focus to the city itself—whether to its streets or the sky above it.

Bio: Anna Bokov is an architect, urban designer, educator, and historian. She holds a Ph.D. from Yale University, a Master’s degree in Architecture from the Harvard Graduate School of Design, and a Bachelor’s degree in Architecture from Syracuse University. She has taught at the Cooper Union, Yale School of Art, Northeastern University School of Architecture, the Moscow Architectural Institute, and Strelka Institute.

Anna has worked as an architect and urban designer with Office for Metropolitan Architecture in Rotterdam; NBBJ in Moscow; Gluckman Mayner Architects and Polshek Partnership (Ennead) in New York; and the City of Somerville Office of Strategic Planning and Community Development in Somerville, Massachusetts. She has served as an editor for the Project Russia magazine, a leading architectural periodical in Russia. Her work has been presented at the Walker Art Center, Venice Biennale, Moscow Architectural Biennale, and AIA New York.

graphic design thesis yale

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2011 MFA GRAPHIC DESIGN THESIS EXHIBITION

YALE GRAPHIC DESIGN PRESENTS CATALOG

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