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This site is designed to help you find fieldwork/study situations of approximately eight hours per week at an internship site approved by the Department Internship instructor such as an advertising agency, graphic design firm, corporate design office, publications art department, photography or illustration studio, TV or multimedia production company. Students will be required to keep a learning journal of their internship in the form of a blog using Openlab. A portion of the class will be devoted to presenting and sharing experiences with classmates. Students will learn how to assess their talents, update their resume, and promote themselves and their work through social networks. Students will be required to setup and maintain at least two social media networks such as: Facebook, LinkedIn, Twitter, Instagram, and Pinterest. The instructors for this class are there as mentors if you have not yet found an internship before registering for the course. However, the instructors do not find an internship placement for you. It is your responsibility to find a position that fits your personal career path and help you transition to full time employment upon leaving the halls of CityTech. Ideally, you will use this site to find an internship the semester before taking the COMD 4900 class.

This site is designed to help you find fieldwork/study situations of approximately eight hours per week at an internship site approved by the Department Internship instructor such as an advertising agency, graphic design firm, corporate design office, publications art department, photography or illustration studio, TV or multimedia production company. Students will be required to keep a learning journal of their internship in the form of a blog using Openlab. A portion of the class will be devoted to presenting and sharing experiences with classmates. Students will learn how to assess their talents, update their resume, and promote themselves and their work through social networks. Students will be required to setup and maintain at least two social media networks such as: Facebook, LinkedIn, Twitter, Instagram, and Pinterest. The instructors for this class are there as mentors if you have not yet found an internship before registering for the course. However, the instructors do not find an internship placement for you. It is your responsibility to find a position that fits your personal career path and help you transition to full time employment upon leaving the halls of CityTech. Ideally, you will use this site to find an internship the semester before taking the COMD 4900 class.

This course is intended for students with an advanced level of proficiency in Spanish. It covers a selection of works of Spanish literature (poetry, prose, drama) from the 19th century to contemporary times. Students are introduced to techniques of critical literary analysis. Class activities include group discussions, reading, and written assignments. Conducted in Spanish.

This course is intended for students with an advanced level of proficiency in Spanish. It covers a selection of works of Spanish literature (poetry, prose, drama) from the 19th century to contemporary times. Students are introduced to techniques of critical literary analysis. Class activities include group discussions, reading, and written assignments. Conducted in Spanish.

Course Description This course will offer an in-depth introduction to communication design theory, examining theoretical perspectives of design practice within the larger discourse of design and visual culture. Communication models, the nature of representation, the dimensions of context and semiotics will be explored through critical readings from key documents written between the early decades of the twentieth century and the present. In this context, “theory” doesn’t mean “a hypothesis to be tested” (as in the sciences), but rather points to a set of working beliefs about how the world—or in this case, visual communication—works. Some aspects of certain visual communication theories are based on observable “facts,” but the way these facts are woven together says more about how we construct meaning than it does about empirical answers to factual questions. So why does a design professional—typically an eminently practical, hands-on person working toward a specific end for the benefit of a specific client—want or need to engage with visual communication theories? First, “doing theory” promotes a sophisticated level of reflection about design work—far beyond the touchstones of “did they like it?” and “did it serve its purpose?” Second, it encourages designers to think holistically about the contexts for their work—beyond the immediate job at hand to the larger contexts of the social, the cultural, and the historical. And finally, it recognizes the obvious: today, graphic design shapes our visual world and puts each person at the nexus of thousands of messages each day. In this course, we, as senders and receivers of such messages, will attempt to make sense of all this through our verbal discussions in class, our blog postings, and our research poster design and presentations. We will be looking at two types of theories: generative theories, that explain the “how” of visual communication; and critical/sociocultural theories that explain the “what, where, and when” of design, or the historical, cultural and social contexts. By developing the ability to look at design through these different lenses, professional designers can enhance the quality of their decision-making and have a better grasp on the multiple contexts and frameworks for clients and audiences. We can better understand and evaluate the many issues about local usability and usefulness within broader contexts of ethics, aesthetics, professional and social responsibility.

Course Description This course will offer an in-depth introduction to communication design theory, examining theoretical perspectives of design practice within the larger discourse of design and visual culture. Communication models, the nature of representation, the dimensions of context and semiotics will be explored through critical readings from key documents written between the early decades of the twentieth century and the present. In this context, “theory” doesn’t mean “a hypothesis to be tested” (as in the sciences), but rather points to a set of working beliefs about how the world—or in this case, visual communication—works. Some aspects of certain visual communication theories are based on observable “facts,” but the way these facts are woven together says more about how we construct meaning than it does about empirical answers to factual questions. So why does a design professional—typically an eminently practical, hands-on person working toward a specific end for the benefit of a specific client—want or need to engage with visual communication theories? First, “doing theory” promotes a sophisticated level of reflection about design work—far beyond the touchstones of “did they like it?” and “did it serve its purpose?” Second, it encourages designers to think holistically about the contexts for their work—beyond the immediate job at hand to the larger contexts of the social, the cultural, and the historical. And finally, it recognizes the obvious: today, graphic design shapes our visual world and puts each person at the nexus of thousands of messages each day. In this course, we, as senders and receivers of such messages, will attempt to make sense of all this through our verbal discussions in class, our blog postings, and our research poster design and presentations. We will be looking at two types of theories: generative theories, that explain the “how” of visual communication; and critical/sociocultural theories that explain the “what, where, and when” of design, or the historical, cultural and social contexts. By developing the ability to look at design through these different lenses, professional designers can enhance the quality of their decision-making and have a better grasp on the multiple contexts and frameworks for clients and audiences. We can better understand and evaluate the many issues about local usability and usefulness within broader contexts of ethics, aesthetics, professional and social responsibility.

Working independently, each student researches, conceptualizes and develops an in-depth project, across media channels, which uses design-thinking to address a contemporary issue.

Working independently, each student researches, conceptualizes and develops an in-depth project, across media channels, which uses design-thinking to address a contemporary issue.

Course Description This course will offer an in-depth introduction to communication design theory, examining theoretical perspectives of design practice within the larger discourse of design and visual culture. Communication models, the nature of representation, the dimensions of context and semiotics will be explored through critical readings from key documents written between the early decades of the twentieth century and the present. In this context, “theory” doesn’t mean “a hypothesis to be tested” (as in the sciences), but rather points to a set of working beliefs about how the world—or in this case, visual communication—works. Some aspects of certain visual communication theories are based on observable “facts,” but the way these facts are woven together says more about how we construct meaning than it does about empirical answers to factual questions. So why does a design professional—typically an eminently practical, hands-on person working toward a specific end for the benefit of a specific client—want or need to engage with visual communication theories? First, “doing theory” promotes a sophisticated level of reflection about design work—far beyond the touchstones of “did they like it?” and “did it serve its purpose?” Second, it encourages designers to think holistically about the contexts for their work—beyond the immediate job at hand to the larger contexts of the social, the cultural, and the historical. And finally, it recognizes the obvious: today, graphic design shapes our visual world and puts each person at the nexus of thousands of messages each day. In this course, we, as senders and receivers of such messages, will attempt to make sense of all this through our verbal discussions in class, our blog postings, and our research poster design and presentations. We will be looking at two types of theories: generative theories, that explain the “how” of visual communication; and critical/sociocultural theories that explain the “what, where, and when” of design, or the historical, cultural and social contexts. By developing the ability to look at design through these different lenses, professional designers can enhance the quality of their decision-making and have a better grasp on the multiple contexts and frameworks for clients and audiences. We can better understand and evaluate the many issues about local usability and usefulness within broader contexts of ethics, aesthetics, professional and social responsibility.

Course Description This course will offer an in-depth introduction to communication design theory, examining theoretical perspectives of design practice within the larger discourse of design and visual culture. Communication models, the nature of representation, the dimensions of context and semiotics will be explored through critical readings from key documents written between the early decades of the twentieth century and the present. In this context, “theory” doesn’t mean “a hypothesis to be tested” (as in the sciences), but rather points to a set of working beliefs about how the world—or in this case, visual communication—works. Some aspects of certain visual communication theories are based on observable “facts,” but the way these facts are woven together says more about how we construct meaning than it does about empirical answers to factual questions. So why does a design professional—typically an eminently practical, hands-on person working toward a specific end for the benefit of a specific client—want or need to engage with visual communication theories? First, “doing theory” promotes a sophisticated level of reflection about design work—far beyond the touchstones of “did they like it?” and “did it serve its purpose?” Second, it encourages designers to think holistically about the contexts for their work—beyond the immediate job at hand to the larger contexts of the social, the cultural, and the historical. And finally, it recognizes the obvious: today, graphic design shapes our visual world and puts each person at the nexus of thousands of messages each day. In this course, we, as senders and receivers of such messages, will attempt to make sense of all this through our verbal discussions in class, our blog postings, and our research poster design and presentations. We will be looking at two types of theories: generative theories, that explain the “how” of visual communication; and critical/sociocultural theories that explain the “what, where, and when” of design, or the historical, cultural and social contexts. By developing the ability to look at design through these different lenses, professional designers can enhance the quality of their decision-making and have a better grasp on the multiple contexts and frameworks for clients and audiences. We can better understand and evaluate the many issues about local usability and usefulness within broader contexts of ethics, aesthetics, professional and social responsibility.