Royal Academy of Art Studyguide

Royal Academy of Art
Studyguide 2013/2014
Index
1.1 Welcome to the academy.....................................5
1.2 A glorious history.........................................6
2.1 Academy-wide education.....................................9
2.2 ArtScience................................................11
2.3 Fine Arts.................................................27
2.4 Photography...............................................49
2.5 Graphic Design............................................73
2.6 Interior Architecture and Furniture Design................91
2.7 Interactive/Media/Design.................................111
2.8 Textile & Fashion........................................129
3.1 Preparatory Courses......................................147
3.2 School for Young Talent..................................148
3.3 Preparatory Year.........................................149
3.4 Collaborations with secondary schools....................151
3.5 Special Combined Education...............................153
3.6 Orientation Course.......................................155
3.7 Additional activities....................................155
4.1 Post Graduate Course Industrial Design...................159
4.2 Type & Media.............................................163
4.3 Master Artscience........................................165
4.4 Film and Photographic Studies............................171
4.5 INSIDE Interior Architecture.............................173
4.6 Master Artistic Research.................................175
4.7 Media Technology.........................................181
4.8 PhDArts..................................................183
5.1 What is a Research Domain................................189
5.2 Research Domain Art Theory and Artistic Practice.........189
5.3 Research Domain Interior Architecture....................189
5.4 Research Domain Innovative Visualisation Techniques......190
5.5 Research in the Arts.....................................193
5.6 Academy of Creative and Performing Arts..................195
6.1 Educational structure....................................197
6.1.1 Competences and domains..................................197
6.1.2 Teaching formats.........................................198
6.1.3 Individual Study Trajectory..............................200
6.1.4 Electives................................................201
6.1.5 Minor programmes.........................................203
6.1.6 Internationalisation.....................................204
6.1.7 After graduation.........................................205
6.1.8 Career orientation and preparation.......................206
6.1.9 Internship...............................................208
6.2 Assessing in art education...............................209
6.2.1 Credits, EC..............................................210
6.2.2 Study and progress guidance..............................212
6.3 Quality Assurance........................................213
6.4 Accreditation............................................214
6.5 Quality Assurance at the KABK............................215
7.1 Education and Examination Regulations....................219
8 Referrals................................................241
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
1. Welcome
1.1 Welcome to the academy
At the Royal Academy of Art (KABK),
we educate students to become self-
aware artists and designers, who
contribute meaningfully to their
discipline and society with their
ambition, profound insight and exper-
imental attitude.
Choosing for this academy means
choosing for a future in the world
of art and culture, where research
holds a prominent position. The
programmes are aimed at developing
creativity, professionalism and the
urge to innovate, and are shaped by
theory and practice teachers who
have a professional practice. During
their studies, students receive every
opportunity to develop in a way
that suits their talents and ambi-
tions best. At the KABK, they are
acquainted with all matters that
will be of importance later, when
they start working as an artist or
designer.
Students can make use of workshops
for wood, metal, textile, computers
and photography. Recent investments
have made it possible to work with
modern 3D scanning and printing tech-
niques. The multimedia recording and
editing studios have been further
modernised. Additionally, the academy
has several labs for interfacing
(LabLand), radio frequency identi-
fication technology and augmented
reality (AR+RFID Lab). Students can
gain basic knowledge and skills
by taking academy-wide introduc-
tory courses on gaming, the moving
image, sound, 3D-modeling and website
design. Numerous lectures, film
screenings, debates and exhibitions
take place throughout the year.
However, not everything the KABK has
to offer takes place at the building
on the Prinsessegracht. The collabo-
ration with the Royal Conservatoire
and the Academy of Creative and
Performing Arts at Leiden Univer-
sity enables students to take elec-
tives and to follow minor or master’s
programmes in Leiden and at the
Conservatoire in the framework of
the Individual Study Trajectory. In
January 2010, we opened the doors of
STOOR, the academy store. Students
have created all the products being
sold here. The programmes we offer
develop at a high pace, in a contin-
uing intensive relationship with a
professional practice that almost
explodes in its diversity.
I wish all our students a substan-
tial, captivating, and above all,
pleasurable study experience.
Jack Verduyn Lunel
director Royal Academy of Art
p.5
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
1.2 A glorious history
The Royal Academy of Art in The
Hague is the oldest art academy
in the Netherlands. Already in the
sixteenth century there is mention
of a Lucas Guild in The Hague. In
1656, a group of painters cut their
ties with the guild to form the
Pictura Brotherhood, in order to make
a clear distinction between artists
and craftsmen. In 1682, the Pictura
Brotherhood founded an academy,
which was the forerunner of our
current academy. Its predecessor was
primarily intended to give members of
the Picture Brotherhood the opportu-
nity to further develop their drawing
skills.
The idea to organise this addi-
tional education came from a group
of painters who had worked in Rome,
and who, inspired by their interna-
tional experience, felt the need to
lift painting in The Hague to a more
international and organised level.
This wish corresponded to the fact
that The Hague, in comparison to
other cities in the Netherlands, had
a very courtly character.
The founding of the original academy
and its international orientation is
exemplary of two aspects that have
played a regular role in the history
of our academy: the encouragement of
the artistic climate in the immediate
area, and the continuous attempt to
achieve this from an international
perspective. In 1780, the academy
became completely independent of the
Pictura Brotherhood and turned into
an open academy that was free of cost
for everyone.
Building on the Prinsessegracht
The end of the eighteenth century
was a period of economic and polit-
ical decline. It was a difficult
time for the academy as well, which
only regained its prominent place in
1821. This year saw the joining of
the academy with the School for Civil
Architecture. After being located
at the Korenbeurs and Boterwaag, the
academy moved to its current building
at the Prinsessegracht in 1839. This
neoclassical building, designed by
the city’s master architect Zeger
Reyers, was a true temple to the
arts. With the disappearance of the
guilds in the nineteenth century,
technical education became more
important. The academy also played
a role in this development. Over
the course of the century, in addi-
tion to the architecture programme,
a large number of craftsmen came to
the academy for extra schooling in
the field of drawing and design.
The lists of enrolled students of
that time almost make it seem like
the academy was a technical school
instead of an art academy. Addition-
ally, a teacher programme was founded
that, up until the 1970’s, held a
prominent place in the institute. The
nineteenth century saw the heyday of
painting in The Hague. Many famous
artists from that period, such as
G.H. Breitner, Willem Maris, Jacob
Maris and Johannes Bosboom, were
educated at the academy.
Independent courses
In addition to drawing, painting and
architecture, the academy founded
the aforementioned programme for art
teachers at the end of the nine-
teenth century. Under the leader-
ship of director dr J.H. Plantenga,
the twentieth century saw the addi-
tion of evening courses and, for
a while, a Sunday morning course.
Under the influence of, among others,
the Bauhaus movement, there was an
increase in interest in the applied
arts in the design disciplines. In
1929, the academy started the course
‘Advertisement Drawing and Furniture
Construction’, which later evolved
into the independent departments
Graphic and Typographic Design and
Interior.
Towards a modern academy
The academy building was a clear
reference to the ancient past.
It was therefore no surprise that
p.6
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
in the same period the school was
updated to reflect modern times,
which included a prominent place for
design, the building was also modern-
ised. Director Plantenga oversaw this
renewal. New teachers were recruited
who applied the new perspectives of
the twentieth century avant-garde to
their teaching. Among them were the
renowned teachers Kiljan, Citroen,
Schuitema and Alons. Photography
was given an important place in the
Advertising department.
During those years, the academy
played a pioneering role in the Neth-
erlands. In 1938, the ancient temple
was replaced with a new academy
building that fully reflected the new
educational system. It was a monu-
ment of modernism and was designed
by Plantenga, J.W.E. Buijs and J.B.
Lürsen. After the war, director B.
Th. de Hey obtained approval of
Royal Decree to establish a course in
Industrial Design. This is currently
one of the oldest programmes in
industrial design in the Netherlands.
Innovations of the last fifty years
In 1957, on the occasion of its 275th
anniversary, the academy received the
designation ‘Royal’. In that year, the
academy and the technical college (in
Dutch: HTS) separated. In subsequent
years the art educational system was
modernised in three successive phases.
The Royal Academy of Art underwent
these changes as well, of course. In
1968 a number of vocational schools
officially became art academies as
institutes of Higher Vocational
Education (HBO). These academies,
which then had five-year programmes,
consisted of various departments. In
addition to the painting and sculp-
ture departments, these academies
also offered programmes in the field
of design. They generally produced
more designers than autonomous visual
artists.
In the 1980’s, a process of expan-
sion took place in the HBO system.
The various independent institutes
merged into larger schools. This also
applied to the Royal Academy of Art,
which was named University of Visual
Art, Music and Dance after merging
with the photography and photonics
departments of the vocational tech-
nical school (MTS) and the Royal
Conservatoire. In 2011 this name was
changed into University of the Arts
The Hague.
The final phase of renovation
commenced with the redesigning
and renovation of the building in
2000. All departments in the field
of art and design have since then
been housed in the building at the
Prinsessegracht, whilst retaining the
1938 building. Its current form was
realised by architects Van Mourik
Vermeulen. With a new addition on top
of the building at the Prinsesseg-
racht and the purchase of two spaces
directly connected to the academy
in 2012, the space requirements of
modern art education are met, and the
building is able to accommodate the
expansion of bachelor’s and master’s
programmes at the academy.
In 2001, an intensive collaboration
was established with Leiden Univer-
sity in the newly founded Academy
of Creative and Performing Arts.
It was the first formal collabora-
tion between a university and an art
institute in the Netherlands. Since
that time it has become possible
for students to study at both the
University of the Arts and at Leiden
University simultaneously. In the
academy’s programmes, the focus on
new technologies and new media has
dramatically expanded, which is
visible in new facilities and work-
shops, as well as in new programmes
such as ArtScience, Interactive/
Media/Design, the Master Interior
Architecture (INSIDE) and the Master
Artistic Research.
p.7
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.1 Academy-wide education
From the first year onwards, students
take a number of interdisciplinary
courses to support and complement
their programmes: academy-wide educa-
tion. In these courses we encourage
collaboration between students from
different departments and disci-
plines. The academy-wide programme
corresponds to the ideals and goals
set for the KABK in its totality.
Examples of this are the joint
core for theoretical education and
research in the arts, and entrepre-
neurship and career preparation. We
also offer a number of academy-wide
practice-based courses that can be
useful for students from different
disciplines.
Some components of the academy-wide
programme are part of the depart-
ments’ (compulsory) programmes. When
this is the case, the components
are included in the relevant credit
overviews. Students can follow the
other courses as part of the Indi-
vidual Study Trajectory (IST) or as
extra-curricular programme, albeit in
consultation with their IST-coach.
In the propaedeutic year
Research and Discourse
The aim of Research and Discourse is
to familiarize students with a scien-
tific way of thinking and to create a
foundation for an investigative atti-
tude in the students’ practice. It
also provides students with insight
into the theories and ideas that form
the foundation of art. In lectures
and/or seminars, students investigate
the role of research in art and the
relationship between art and science.
Additionally, students acquire skills
to help them accurately substantiate
and present their position and opin-
ions as an artist/designer. Research
and Discourse is a compulsory course.
Academy-wide propaedeutic
project week
The academy-wide propaedeutic project
week aims to bring students from
different departments together in
intense collaborations. During this
week, students work on an assign-
ment in multidisciplinary groups.
Attending the project week is compul-
sory.
In the third year and above
Business Plan Writing
The KABK offers the course Business
Plan Writing to optimally prepare
students for their future careers.
The aim of the course is to famil-
iarise students with writing a busi-
ness plan. The course is compulsory
for students of all departments. The
period in which it is offered may
vary according to the department and
is indicated in the credit overviews.
In the IST or as extra-curricular
programme
Introductory courses
The KABK offers a wide range of
courses that introduce students
to various techniques. Introduc-
tory courses are open to students
of all departments from the second
year onwards. Students can follow
the courses in the framework of
the Individual Study Trajectory,
with approval of the IST-coach. If
a course does not fit in the IST
programme it can be followed as an
extra-curricular course.
The up-to-date schedule for introduc-
tory courses can be found at:
www.kabk.nl/introductory
p.9
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.2 The ArtScience Interfaculty

2.2.1 Introduction
Are you an ambitious student looking
for a study that matches your broad
talents and vision? Are you creative,
curious and looking for a place where
you can ask your own questions and
research these within an art context?
Do you want to be able to freely
choose and develop the artistic
medium your project needs? Are you
inspired by both the arts and the
sciences?
The ArtScience Interfaculty is situ-
ated between the Royal Academy of
Art, the Royal Conservatoire and the
Academy for Creative and Performing
Arts of Leiden University. ArtSci-
ence has an interdisciplinary focus
that intersects amongst others music,
visual arts, media art, humanities
and the natural sciences. The staff
originates from a variety of artistic
cultures and disciplines and is
unique in its scope.
ArtScience offers both a four-year
bachelor’s, and a two-year master’s
programme embedded in an inter-
disciplinary learning environment.
The programme stimulates students
to ask their own questions and
create their own media of expres-
sion. Starting on day one, students
participate in artistic research
focussing on contemporary questions
and resulting in the development
of innovative artworks. The study
stimulates students to reflect upon
actual developments around us, this
includes developments within the art
world itself and also technological,
social, political and scientific
developments. We are interested in
new forms of art and in new presenta-
tion places and methods. Furthermore
we challenge students to question
what future forms of art could look
like.
We ask and encourage students to
investigate ideas by making things
and questioning the results. How
do you and other people interact
with these works and reflect upon
them? How does making a model help
in developing the original idea?
How does making a work of art help
to answer a research question?
These processes will be shared and
discussed with your fellow students
and teachers, and the final works
will be presented in public exhibi-
tions and events.
You want to think with your hands and
build with your brain? Come and study
at the ArtScience Interfaculty!
2.2.2 Art and Science
Since a number of years we are in
the midst of a new wave of interest
in the connection between art and
science. In the previous century
there have been two such waves, the
first in the twenties and thirties,
marking the beginning of modern art,
industrial design, modern music and
modern architecture. The second of
these waves was in the fifties and
sixties, marking the birth of elec-
tronic music, video art, interactive
art and generative art.
Both of these periods shared a sense
of optimism about potential future
developments, but also a sense of
responsibility for the artist who
had to fulfil a specific mission to
help ensure this positive potential.
This mission was perceived to consist
in absorbing new technological and
scientific notions into the realms
of human experience and imagination.
Civilization often lags behind the
advances in technological control of
the world, and according to Bauhaus
artist Laszlo Moholy-Nagy this lag is
one of the root causes for excesses
such as exploitation and war.
In the current wave of interest in
the ArtScience connection, a number
of views on the interactions between
art and science can be distinguished.
A form of collaboration that has
become almost common is one in which
scientific concepts are seen as a
p.11
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
kind of ‘content’, and where the
artist translates these concepts into
images, sounds or other experiences.
This can reduce the artist to a kind
of scientific communicator, but in
most cases it triggers radically new
kinds of artistic development.
Also it can result in works that
help scientists get a new intuitive
understanding of what it is they
are doing, or works that comment on
consequences of scientific devel-
opments. Another form of collabora-
tion is one in which scientists or
technologists assist in realizing an
artistic idea. This can reduce the
scientist or engineer to a kind of
art facilitator, but more often the
artistic idea itself is informed by
a new awareness of possibilities.
Also the artists can help trigger
new directions of research by posing
uncommon problems.
A more complex and much more inter-
esting zone between art and science
has been described in two recent
books. In his book ‘ArtScience’
(2008) David Edwards cites many
examples from the worlds of science,
art, civil society and industry that
show how transposing ideas or strat-
egies from one field to the other
often results in radical innovation.
ArtScience for him is an interme-
diate area of creativity where art
nor science are clearly defined:
stimulating this zone he considers
to be one of the key strategies to
foster innovation. In his ‘Informa-
tion Arts’ (2002) artist and theorist
Stephen Wilson gives an encyclopaedic
overview of many new forms of art
that have their origin in current
science and technology. To discuss
these forms he no longer considers
the traditional artistic disci-
plines to be relevant, and in his
book he proceeds to group these art
forms under the headings of the main
scientific disciplines. He argues
that these new forms of art will
not necessarily find a place within
the traditional platforms for art,
and will also not necessarily share
traditional artistic concerns.
The core idea that makes such collab-
orations and intermediate zones
interesting is that art and science
are both considered as types of
exploration, and that they are
thought to be complementary in many
ways. Where science maintains an aura
of objectivity and detachedness, in
art subjectivity and critical engage-
ment tend to be favoured. Where in
science peer-review is the norm,
artists are expected to be icono-
clastic and original. Where science
is expressed in formulas and text,
art often exists through non-verbal
experience. Ultimately, however, art
and science share the aim to enlarge
the scope of our ideas about the
world. By inventing new media and new
artistic languages, art can create
new worlds of experience. By widening
our imagination it also creates new
kinds of thinking, as we cannot think
about the things we can not imagine.
As Gyorgy Kepes, founder of the
Centre for Advanced Visual Studies
at the MIT wrote in 1956: “The images
and symbols which can truly domesti-
cate the newly revealed aspects of
nature will be developed only if we
use all our faculties to the full
- assimilating with the scientist’s
brain, the poet’s heart and the
painter’s eyes. It is an integrated
vision that we need; but our aware-
ness and understanding of the world
and its realities are divided into
the rational - the knowledge frozen
in words and quantities - and the
emotional - the knowledge vested in
sensory image and feeling.”
p.12
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
2.2.3 An overview of the
ArtScience Interfaculty
At the ArtScience Interfaculty
students and teachers are developing
new forms of interdisciplinary art.
The goal of the teaching programme
of the Interfaculty is to investigate
and possibly shape the intersection
between artistic concepts and recent
developments in science and tech-
nology.
Every year, the programme of courses
and projects is partly updated
according to current themes from the
area where art, media, science and
technology overlap. Possible artistic
responses to recent developments
are formulated by experimenting with
new contexts and forms in which art
can play a role. This discussion is
continually related to an interdisci-
plinary base in which the continuity
between media art, music, theatre,
film and visual art is considered to
be self-evident.
The Interfaculty is a collaboration
between the Royal Academy of Art, the
Royal Conservatoire and the Academy
for Creative and Performing Arts of
Leiden University. The staff comes
from a variety of artistic cultures
and disciplines that is unique in
its scope. The ArtScience Interfac-
ulty collaborates closely with the
master’s programme MediaTechnology
of the Leiden Institute of Advanced
Computer Science (Leiden University).
Within the Royal Conservatoire the
Interfaculty has close links with the
Composition department and the Insti-
tute of Sonology, within the Royal
Academy with the ARlab.
The bachelor’s programme aims to
guide students towards an ‘autodis-
ciplinary’ art practice: students
acquire the skills, research methods
and conceptual background necessary
to develop their personal artistic
work within the broad field of the
arts and sciences. The ArtScience
Interfaculty has a partly ‘open
curriculum’: during most of the
study, the students navigate indi-
vidually through the teaching modules
on offer within the Interfaculty and
connected departments and insti-
tutions. At the Interfaculty there
are four forms of group activities:
research projects, labs, theoretical
courses and practical workshops.
Apart from the collective activities,
students are expected to do their own
research and develop individual work,
which is evaluated by all teachers in
two presentations each year. Starting
from the second year, each bachelor
student chooses two personal coaches
who advise in study choices and who
reflect on the individual work of the
student.
Participants in the master’s
programme are admitted on the basis
of a research proposal, and depending
on the research topic the student
chooses two personal coaches. The
three of them together then draw up
a study- and research plan that will
include course modules, projects
and labs offered within the ArtSci-
ence Interfaculty and which can also
include other courses from the Royal
Conservatoire, The Royal Academy
of Art or Leiden University. This
choice will be based on both the
research topic and the background of
the student; also the ratio between
self-study and course modules will be
different for each student. Comple-
menting this individual track are
a number of introductory courses
that are obligatory for all ArtSci-
ence master students. Also there
are collective activities to stimu-
late the mutual contribution to the
research of fellow students. The
progress in the individual work is
being monitored in evaluations by the
ArtScience teachers two times a year
p.13
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.2.4 Goals of the programme
The bachelor’s programme aims to
guide students towards an ‘autodis-
ciplinary’ art practice: students
acquire the skills, research methods
and conceptual background necessary
to develop their personal artistic
work within the broad field of the
arts and sciences.
A theoretical and practical basis is
offered in the courses, but the core
of the education offered at ArtSci-
ence isconsists of practice-based
research: knowledge is acquired in
the context of conceiving and real-
izing projects. In these projects
students work together with the
teachers and mostly together with
other students and learn to collab-
orate and organize projects on
various scales. Because of the open
curriculum and the individual study
trajectories this implies, students
develop a strong sense of independ-
ence, self-organization and critical
thought during the study. Because
many study projects are presented
outside of the school walls, the
students are expected to be already
active and well-connected in the field
at the time of their final exam.
Professional competencies
The students are challenged to
develop a range of professional
competencies regarding three domains:
/ The artistic-technical domain
/ The professional world
/ The theoretical domain
Within each of these domains students
are expected to develop competencies
within these areas:
/ Creativity
/ Critical reflection
/ Innovation and growth
/ Organizing
/ Communication
/ External awareness
/ Collaboration
These competencies are the basis of
the evaluation by the teachers at
the end of each course module and
they are also used to evaluate the
presentations at the end of each
semester. In turn, twice a year an
evaluation meeting is held for the
students to evaluate the programme
and suggest improvements.
Final qualifications of the bachelor’s programme
At the final exam the students
present a work that demonstrates
their ability to work as a profes-
sional artist and which convincingly
brings across an articulated and
authentic vision on the arts. The
graduate should have the following
final qualifications:
/ You create authentic work that
comes from following your own
artistic vision and contributes
to the fulfilment of your
personal ambition as an artist
(creative ability)
/ You are able to consider,
analyse, interpret and assess
your own and others’ work, and
are capable of constructively
considering your findings
in relation to your own
work (capacity for critical
reflection)
/ You are able to further develop
the breadth and depth of
your artistic practice in an
ongoing process, and in this
way contribute to developments
in your artistic discipline
(capacity for growth and
innovation)
/ You are able to establish
and maintain an inspirational
and functional working
environment, and to organize
your research, work and practice
(organizational ability)
/ You are able to effectively
present and discuss your
p.14
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
artistic vision, research and
work (communicative ability)
/ You are able to relate your
artistic practice to both the
artistic and social context
(external awareness)
/ You are able to make an
independent contribution to a
collaborative product or process
(capacity for collaboration)
2.2.5 The structure of the programme
With exception of the theoretical
courses, the ArtScience Interfaculty
has an ‘open curriculum’: within some
constraints, the students navigate
individually through the modules on
offer within the Interfaculty and
related departments and institutions.
At the Interfaculty there are five
forms of tuition: research projects,
labs, individual coaching, theoret-
ical courses and practical workshops.
With the exception of the first year
courses and theory courses, students
can always choose between several
options. For more information and the
complete schedule, please refer to
ArtScience studyguide 2013-2014 and
the website.
Theoretical Courses and Seminars
Starting in the year 2012-2013,
students follow a programme
consisting of five theoretical
courses from the first until the
third year of the bachelor. After an
introduction to ArtScience, subjects
covered in these courses are the
theory and history of the senses,
media (an)archeology, the philos-
ophy of technology, science and art
and the theory of interaction in art
and nature. These courses run for
six whole days over a period of six
weeks, and consist of lectures, the
reading of texts, group discussion
and the preparation of written and
verbal presentations by the students.
At the end of each semester there
will be a seminar of two days for all
students and teachers of the inter-
faculty, zooming in on current topics
that emerge from the discussions in
the individual courses.
Together, these courses and seminars
aim to give a theoretical and histor-
ical context to the research activ-
ities that take place in the Inter-
faculty. Through them, students also
learn to do theoretical research, to
articulate their thoughts in writing
and to give verbal presentations
about their work in connection with
the work of others.
Practical Workshops
A large number of short, prac-
tical workshops are offered in four
periods of three weeks, two for each
semester. Each of these consists of
two full days a week over a period of
three weeks. Some of these short and
intensive courses focus on specific
techniques, skills and practical
awareness, such as light, sound,
editing, electronics, programming
and form studies. One or two of them
each year focus on subjects that are
still experimental and speculative
and that might become the subject of
a research project next year. Every
year, about one third of these short
courses is changed, in order to be
able to cover more ground during
the four years of the bachelor’s
programme.
For the first year students there
is a separate programme of these
practical workshops. Each of these
modules focuses on a number of medi-
um-independent concepts, basic skills
and sensory training that are essen-
tial to the ArtScience approach.
Labs
In the last three years, many of the
activities at the Interfaculty have
been clustered around six studiolabs
that are defined by output media.
These labs do not pretend to cover
everything in the ArtScience field
and there are also no hard bound-
aries between the labs: they are
p.15
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
support structures and groupings of
people who are involved in creating
similar output. Each of these labs
is a combination of a laboratory, a
production facility and an ensemble
of teachers, students, alumni and
guests working there. Each lab is
also a platform to offer coaching
and space for projects by individual
students, and a channel for the accu-
mulation, documentation and dissemi-
nation of their research results and
artworks. Every couple of years the
focus of each studiolab is re-evalu-
ated in order to keep up with devel-
opments in the field and with the
evolution in our research interests.
Bachelor’s students are expected to
be a member of one or two of these
studiolabs. They can switch labs
during their study, but not during
the semester. Students should docu-
ment their own work they do in the
lab over the course of the year
and write a research report every
semester. Each lab has a weekly
working session of three hours during
which students work on their projects
together with the lab coach. In some
of the labs these sessions are a
form of group coaching, but in other
cases (RecPLay and StageLab) these
sessions tend to be more like group
rehearsals.
Some of the labs are facilities that
are also open to lab members outside
of the coaching sessions, and partic-
ipation in all labs is also open
to students from other departments
within the KABK and KC. Furthermore,
each lab initiates group projects
that result in presentations outside
of the walls of the school. These
projects will in some cases be group
projects, but in some of the labs
these presentations will mostly be
group exhibitions of individual
works. Each lab also organises excur-
sions and visits to performances,
exhibitions and symposia. In time,
every lab will publish its results
in the form of books, dvd’s or other
media.
The labs are:
RecPlay
This studiolab is an extension of
the RecPLay group that has existed
since 2001. It deals with subjects
such as audiovisual improvisation,
improvised electronic music, real-
time visuals and freestyle video, and
the practical focus is on developing
strategies for ensemble playing. The
labcoach of RecPlay is Robert Pravda,
complemented by Kasper van der Horst.
StageLab
In this lab, the esthetic and tech-
nical qualities of materials and
instruments in relation to the body
are investigated, with the aim to
develop hybrid performance prac-
tices. Practical work includes body
training, work with light and sound
on stage and developing performances.
The labcoach is Michiel Pijpe.
Spatial Interaction Lab
This lab deals with composing inter-
actions by way of audiovisual inter-
faces, interactive spaces, robotics,
physical computing, extra senses
and interactive architecture. Its
practical focus will be on hardware
controllers, sensors, actuators and
spatial use of sound and light. The
labcoach of the Spatial Interaction
Lab is Edwin van der Heide.
Performative Instruments Lab
The focus of this lab is on devel-
oping media performance tools,
interfaces and performative installa-
tions. Research is done into existing
practices and technologies, and the
emphasis is on developing new works
through a series of hands-on experi-
ments. The labcoach of the Perform-
ative Instruments Lab is Kasper van
der Horst, complemented by Robert
Pravda.
Tactile Research Lab
This is a lab dealing with weara-
bles, inflatables and new, active and
responsive materials. Its practical
focus will be on the skills that are
p.16
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
necessary to make physical environ-
ments out of lightweight materials.
The labcoach of the Tactile Research
Lab is Cocky Eek.
c0d3l4b
This is a lab dealing with the devel-
opment of software for generative
composition and generative art. Its
practical focus will be on work in
software environments such as Max/
Msp/Jitter, Processing, OpenFrameworks and
LuaAV. The labcoaches of the CodeLab
are Marcus Graf and Nenad Popov.
AR Interactions Lab
Since a number of years the KABK
has been collaborating very actively
with the TU Delft in the develop-
ment of new approaches to the use
of Augmented Reality in art and
design. Since 2010, the Interfaculty
ArtScience and the masters programme
Mediatechnology in Leiden have been
playing a more active role in this
project and made the lab more avail-
able to their students. The AR lab at
the KABK is not an ArtScience lab in
a similar way as the labs mentioned
above, but it is open for individual
projects by the students and under-
takes group projects a few times per
year.
Research projects
The field covered by the ArtSci-
ence programme is very broad and
dynamic. In order to avoid freezing
our current approach in a fixed
curriculum, we chose to cover this
territory through an “inkblob-
strategy”. Every year the ArtScience
team chooses a number of topics that
are explored in research projects
that run over a period of six weeks,
at least three days a week. Some
research projects are collective
projects with the emphasis on the
production of art works and lead to
a public presentation, outside the
school walls. Other research projects
focus less on the final result and
more on the process of artistic
investigation of the topic in ques-
tion, producing artworks, prototypes
and documentation in the form of
papers and audiovisual registrations.
In the research projects, students
also learn to develop ideas collec-
tively and become involved in the
organizational aspects of preparing
a public presentation. Examples of
recent research projects are: groW-
orld: Borrowed Scenery Alternate
Reality Narrative, Pyramids: Monu-
ments for Late Capitalism, Structet
II: Building Music and Musurgia
Universalis: the Return of Athanasius
Kircher.
Self-study, coaching and presentations
We expect our students to start
developing their personal niche in
the field of the arts and sciences
during their studies, and an impor-
tant part of the education therefore
consists of self-study: time to make
personal work and to pursue personal
research.
From the second year of the study
each student has two teachers who
coach this personal work, reflect on
it together with the student, offer
a context for it, suggest litera-
ture and other sources of information
and often assist in solving prac-
tical problems. As the study advances
we expect from our students that
they start showing their personal
work outside of the school walls
and start building up a network.
Instead of making work specifically
for the presentations twice a year,
the student in this way evolves
towards a situation where the work
has been shown and developed outside
the school before being shown at the
presentations.
This personal research is evaluated
twice a year during the collective
presentations at the end of each
semester. At the end of the first
semester, the students are asked
to give a presentation of their
research, explaining their topic,
progress and methodology and illus-
trating this with (documentation
of) experiments or finished works.
p.17
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
At the end of the second semester,
the students are asked to present a
finished work, together with a short,
verbal explanation. Both presenta-
tions are evaluated in a discus-
sion between the student and all the
core teachers, during which also the
general progress in the study is
discussed. The evaluations are based
on five criteria and five student
qualifications. The criteria to eval-
uate the research and presented work
are: the artistic quality of the core
concept, the quality of the research
process, the consistency of the work,
the quality of the presentation or
the quality of execution of the
work, and finally the poetry of the
result. The progress of the student
is evaluated based on five student
qualifications: the visibility of
artistic identity, the ability to
reflect on the student’s own process,
the ability to innovate, the ability
to communicate and the awareness of
context and current developments
related to the research topic.
Public Toolkit
This course is focusing on profes-
sional preparation. An important part
of this course will be a reflection
on the position of the student in the
field, a discussion that is espe-
cially important for students ArtSci-
ence, since there work can often be
presented in very different contexts.
Curators and organizers from the
media arts, experimental theatre, the
visual arts, sound art, music and the
creative industry will be invited to
elucidate practical and organizational
aspects specific to their field.
Practical aspects like the writing
of project proposals and a business
plan, publicity, and documentation
will be discussed, together with the
financial aspects of being a self-em-
ployed artist. Alumni will be invited
to share their experiences. Related to
this course is the academy-wide course
‘Writing a business Plan’. ‘Writing
a business plan’ is forms part of the
ArtScience curriculum.
Thesis
The fourth year bachelor’s students
are asked to write a thesis in the
first semester of their final year.
The aim of the thesis is to artic-
ulate a theoretical and historical
context for the students’ own work by
investigating a topic that relates
to it. Students are encouraged to
develop personal forms of writing
that fit their research topic, but
should demonstrate their ability to
do theoretical research, find good
sources and discuss work by other
artists that is related to their own.
Individual study trajectory and portfolio
Many kinds of individual activity
can be part of the individual study
trajectory, such as a personal
research project, an internship, an
international exchange, taking part
in a production, attending symposia,
initiating a production, organizing
a festival or writing a research
paper. When approved by the indi-
vidual coaches such activities can
be awarded study points. A written
report and documentation of such a
project should be included in the
portfolio.
Part of the individual study trajec-
tory will consist of courses outside
of the ArtScience Interfaculty.
Likely choices are the Introductory
Courses offered by the KABK (Moving
Image, WebDesign, 3d-animation,
Sound) and the courses offered at
the MediaTechnology master of Leiden
University.
Apart from this a very wide spec-
trum of courses within the Royal
Academy, the Royal Conservatoire
and Leiden University are available.
In the past students have followed
courses in amongst others Sonology,
Singing, Percussion, Photography,
Print Making, Art History, Philos-
ophy, Electronics, Sociology, Bio-in-
formatics, Art and Genomics, and we
would like to encourage students to
explore the many other possibilities
and surprise us. Points for elective
p.18
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
courses are awarded on the basis of
exams passed, certificates, a written
report or another form of documenta-
tion that should be included in the
portfolio the student is compiling
over the course of the study year.
Before the presentations in June,
the teachers look at the portfo-
lio’s of all the students and discuss
their participations in lessons and
extra activities. On the basis of the
portfolio and their own experiences
they then evaluate the year of the
student and confirm the study points
for courses followed outside the
Interfaculty and for extracurricular
activities.
2.2.6 Credit Points Overview
Credit Points (EC points) are
assigned two times a year, at the end
of each semester before the presenta-
tions. Each credit point represents
28 hours of study and students should
earn a total of 60 credit points per
year.
Credit points for participation in
courses, labs, research projects,
KABK introductory courses, MediaTech-
nology courses and other KABK and KC
courses are assigned on the basis of
the evaluations given by the teachers
of those courses. The credit points
for the individual study trajec-
tory are assigned on the basis of
written reports or other forms of
project documentation. The student
is expected to compile a portfolio
containing the documentation of
individual projects and documenta-
tion of the activities in research
projects, labs and other courses. The
points for extracurricular activities
are assigned during the evaluation
of the portfolio at the end of May.
Successful presentations of indi-
vidual work earn eight credit points.
Failed presentations must be repeated
one or two months later, or at the
end of the following semester.
In order to pass the propaedeutic
exam the student should have enough
points and should have passed both
presentations, all of the first year
courses, the academy-wide first year
courses and the Introduction to Elec-
tronics. Students who fail to pass
their propaedeutic examination within
two years are not allowed to continue
their studies.
In the first year, students are
required to be a member of two labs
and to take part in two research
projects. In the second and third
year, students should take part
in at least three labs or research
projects. In the fourth year,
students should take part in at least
two labs or research projects, while
the student should be member of at
least one lab.
2.2.7 Admission to the bachelor’s
programme of the ArtScience Interfaculty
To be admitted to the bachelor
programme ArtScience we ask you to
demonstrate your artistic talent,
intellectual curiosity and affinity
with many artistic disciplines.
You’ll be asked to show examples of
earlier work and explain your moti-
vation to study at the ArtScience
Interfaculty.
In order to be admitted to the
entrance examination we ask you to
send us a letter of motivation, a
curriculum vitae (resume), a port-
folio and a number of official docu-
ments. Also all candidates should
submit their response to the assign-
ment described below. All written
materials should be in Dutch or
English. Please refer to
http://www.interfaculty.nl and the ArtScience
studyguide 2013-2014 for the most up
to date information regarding the
dates for entrance exams.
All candidates are asked to fill in
the online admission form on
www.kabk.nl.
p.19
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
After this, candidates are invited to
contact the study coordinator
([email protected]) for a short
personal interview with the head of
the Interfaculty, in person or via
Skype.
After this first assessment, candi-
dates are invited to send the mate-
rials we ask for an application,
as described below, in order to be
invited for an interview. European
candidates are expected to by physi-
cally present at this interview, with
candidates outside of Europe we will
propose a Skype meeting.
Letter of motivation
In the letter of motivation we ask
you to give an overview of where you
stand now in your artistic activities
and to describe your vision for the
future. The letter should cover the
following points:
/ please give us some background
to your artistic past; explain
the motivation behind getting
involved in art and behind the
artistic choices you have made
so far;
/ please describe the artistic
disciplines you have been
involved or interested in so
far;
/ please describe the main topics
you are interested in concerning
art, science and culture. For
instance this can include
specific art forms, subcultures,
genres, styles, artists that
inspire you, philosophical
ideas, scientific research
topics, developments in society
etc.;
/ please give an outline of what
you hope to achieve during
your studies at the ArtScience
Interfaculty;
/ please describe how you think
you will be able to contribute
to the learning environment at
the Interfaculty and to the
arts after you completed your
studies;
/ please describe the artistic
niche you imagine you will
develop during your studies;
/ please ask any questions you
might have about the ArtScience
Interfaculty.
/ Curriculum Vitae (Resume)
› This should cover:
› our previous education;
› your artistic past (see also
portfolio, below);
› musical instruments played (if
applicable);
› techniques mastered;
› work experience;
› languages.
Portfolio
In the portfolio you should show us
documentation of works of art you
made. The original works can be in
any art form or medium, while the
documentation should be a short text
describing each work, illustrated
with photos, drawings, reviews, etc.
Please include audio and video, in
which case you should mark a maximum
of three minutes you absolutely want
to be viewed or listened to by the
selection committee. Digital docu-
mentation should run on both Mac and
PC, can be on CD, DVD, usbstick or
online and should use standard file
formats (jpeg tiff pdf mp3 flash aiff
quicktime avi powerpoint).Please do
not send us originals; for practical
reasons we can not always return your
portfolio.
Assignment
As part of the entrance examination
we ask you to send us a proposal for
a work of art you would like to make.
The only requirement for the proposed
work is that it should appeal to at
least two senses, in most cases sight
p.20
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
and hearing. The proposal should
consist of a written description and
include sketches in image, sound or
other media. For the entrance exami-
nation we ask you to bring a 3D scale
model of the work of art you propose
(this does not apply to non-european candidates).
Official documents
BA candidates should fill in the
online admission form on www.kabk.nl.
A copy of the candidate’s passport,
a visa (when applicable), a copy
of relevant diplomas, two passport
photos, and email address should be
included with the materials sent for
the entrance exam.
2.2.8 Staff at the ArtScience Interfaculty
Head of Interfaculty
Joost Rekveld
Coordinator:
Leonie Zweekhorst
Core teachers:
Cocky Eek
Arthur Elsenaar
Edwin van der Heide
Kasper van der Horst
Michiel Pijpe
Robert Pravda
Joost Rekveld
Taconis Stolk
Guest teachers:
Nadine Bongaerts
Eva BrinkmanLex van der Broek
Evelina Domnitch
Dmitry Gelfand
Vincent van Gerven Oei
Marcus Graf
Eric Kluitenberg
Maja Kuzmanovic
Gosse de Kort
Katinka Marac
Nenad Popov
Paul Prudence
Sanne van Rijn
Joel Ryan
Chris Salter
Duncan Speakman
TeZ (Maurizio Martinucci)
Frank Theys
Caro Verbeek
p.21
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.2.9 Total overview of qualifications

p.22
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
QUALIFICATIONS PROPAEDEUTIC YEAR MAIN PHASE, YEAR 2
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
p.23
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
QUALIFICATIONS MAIN PHASE, YEAR 3 MAIN PHASE, YEAR 4
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You create authentic work that
comes from following your own
artistic vision and contributes to
the fulfilment of your personal
ambition as an artist
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to consider, analyse,
interpret and assess your own and
others' work, and are capable of
constructively considering your
findings in relation to your own
work
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to further develop the
breadth and depth of your artistic
practice in an ongoing process, and
in this way contribute to develop-
ments in your artistic discipline
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to establish and
maintain an inspirational and
functional working environment, and
to organize your research, work and
practice
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to effectively present
and discuss your artistic vision,
research and work
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to relate your
artistic practice to both the
artistic and social context
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to make an independent
contribution to a collaborative
product or process
ARTSCIENCE
Year 1 2 3 4
Course 1 2 3 4 5 6 7 8
Practical Courses 4 5 4 4 2 2 2
Labs 4 4 4 4 4 4 4 4
Presentation 1: assignment 8
Presentation 2: propedeutic exam 8
Presentation 3 8
Presentation 4 8
Presentation 5 8
Presentation 6 8
Presentation 7: final exam 19
Excursion Ars Electronica 1
Research Projects (*) 6 6 6 6 6 or 0 0 or 6 6
Public Toolkit 4 2
Business Plan Writing 2
Organisation graduation preview 1
Research and Discourse 3 3
Theoretical Courses 3 3 4 4 4
ArtScience Seminar 1 1 1 1 1 1 1
Thesis 9
IST (*) 3 3 5 or 11 9 or 3 6 6
Total
30 30 30 30 30 30 30 30
EC after individual assessment 24 24 24 24 24 24 24 24
EC after collective assessment 6 6 6 6 6 6 6 6
* In the third year, the research project can be done in either semester 5 or semester 6. It has a study load of 6 EC.
If the research project is done in the fifth semester, 5 EC will be available for the IST in semester 5 and 9 in semester 6.
If the research project is done in the sixth semester, 11 EC will be available for the IST in semester 5 and 3 in semester 6.

1st year: Due to the changed Research & Discourse programme minor adjustments of the EC is an possibility.
2.2.10 Study points overview
p.24
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
2.3 Fine Arts
2.3.1 General description of the discipline
History of the discipline
Until the mid-nineteenth century,
artists worked primarily on behalf of
monarchs, the church and the upper
middle class. Around 1850 the idea
was introduced that art should not
longer be made on commission, but
purely for the art itself. The auton-
omous artist was born.
Artists were forced to reconsider and
redefine themselves and their public
function. The twentieth century thus
became the century of the self-aware
modernist movement that was char-
acterised by its high appreciation
for experimentation and innovation.
In concurrence with the far-reaching
technological, political and social
developments of the era, new types
of artists were born and old types
considered lost forever, were reborn.
After the Cold War ended, the inter-
nationalisation that was manifesting
everywhere also conquered the art
world. The confrontation with previ-
ously unknown aesthetic cultures
yielded hopeful amalgamations, but
also put pressure on established
(Western) art notions of modernity
and autonomy.
Nowadays, in the beginning of the
twenty-first century, artists make use
of a huge range of artistic media,
which can sometimes be clearly distin-
guished, while at other times overlap.
As a result, the area has become
multidisciplinary. Painting, once the
main discipline, still plays an impor-
tant role but no longer dominates.
The fine arts represent, above all,
a dynamic world in which firmly
rooted traditions compete with fierce
trends of innovation. The result is a
constantly changing landscape where
few certainties exist. Boundaries are
blurring, not only between the arts,
but also between the so-called high
and low arts.
Current situation of the discipline
Traditional stylistic or thematic
issues no longer dominate contem-
porary visual art. Although the
artist who works on his oeuvre in the
privacy of his studio will continue
to exist, there are other artists who
have developed a keen sense for the
changes in society and have decided
to actively place their work in that
field. The vast increase of mobility
and means of communication have led
to the emancipation of cultural areas
that were hitherto considered to be
fairly obscure.
There is no longer a dominant Western
culture. Innovative cultural expres-
sions can come from anywhere, from,
for example, Africa, China, Korea or
Mexico. This results in an inter-
national art and cultural produc-
tion. New media (video, internet,
etc.) have explosively expanded the
artistic toolkit and scope.
Artists do no longer exclusively
position themselves as traditional
creators, but also as researchers,
entrepreneurs, commentators or
engaged participants in social or
political processes. They reveal
hidden qualities, provide crit-
ical commentary on social phenomena
and/or are actively involved with
these phenomena. Female artists are
increasingly setting the tone in
artistic discourse.
Today, photography, video and other
lens-related disciplines are flour-
ishing like never before. In the
digital world, Internet users appro-
priate and process countless images
and transmit them as new works of
art. The current situation creates
an enormous number of opportunities,
but also poses new challenges for
the arts and art education, which
can only be successfully addressed if
they are understood and accepted. The
Fine Arts department addresses these
issues with vigour.
p.27
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.3.2 Study profile
Below we describe the profes-
sional profile on which we based the
programme of the Fine Arts department
at the KABK. Visual artists create
art to give significance and meaning
to the lives of others and their own.
By doing so they fulfil an important
social function.
In the professional field, their work
is appreciated for the authentic way
in which they express their artistic
vision and ambition in the public
domain, and also because of their
innovative ideas regarding the disci-
pline of fine art and how those ideas
can function in a social context. The
work of visual artists appears in
many different forms, from material
objects to materialised (thinking)
processes, performances, business
ventures, lectures and other verbal-
ized concepts that are visual and/or
theoretical in nature.
International setting
The international setting has become
an important element in contemporary
professional practice: the playing
field of the young artist has grown
immensely. This makes him an artistic
nomad, who may or may not travel the
world to find hotspots, or places
that are on the verge of becoming
one, to present work or proposals for
new work. In addition to producing
work, it is becoming increasingly
important that the contemporary
artist is able to claim a position in
artistic and social environments. He
is a researcher, producer, networker,
organiser and administrator all at
once, and employs this combination
of functions to achieve his artistic
ambitions.
Description of the study programme
The propaedeutic year is specifi-
cally tailored to the fine arts, with
orientation, selection and reference
as its objectives. Specific to the
department Fine Arts at the KABK is
the division of the programme into
four (small) departments after the
propaedeutic year, the so-called
sections:
/ Free Graphics
/ Painting
/ Interdisciplinary Attitudes
/ 3D
The content of these sections depends
on the conditions of the funding
structure and its relevance in
respect to the field.
The part-time programme, because of
its lesser number of contact hours,
is separated into the sections 2D and
Interdisciplinary Attitudes after
the propaedeutic year. These sections
represent the differentiation from
the full-time programme.
After obtaining the propaedeutic
year diploma, the student chooses to
continue his studies in either the 2
or 3 Dimensional domain. In the third
semester, the teams of lecturers
from Free Graphics and Painting
partially merge to intensively
confront students in the 2 Dimen-
sional domain with the disciplines
of graphics and painting. In each
block, one of the disciplines is the
subject of an extensive assignment.
The same happens in the 3 Dimensional
domain with the teams of lecturers
from Interdisciplinary Attitudes and
3D. At the end of the third semester
the student chooses on of the four
sections to graduate in.
This set-up creates the necessary
conditions for working in small
student groups, and for the organisa-
tion of specific workshops, external
activities and guest lectures in the
sections. In the sections we create
a climate in which the boundaries
of the discipline are examined and
exceeded. Here we build the foun-
dation that enables interdiscipli-
narity. If the development of the
student gives cause to a change of
section, he is able to change on the
p.28
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
basis of his own, well-motivated,
initiative or on the advice of his
team of lecturers.
Inspirational contacts between
students of different sections are
encouraged, and in the course of the
academic year numerous cross-section
activities and projects take place.
The final phase, the fourth year,
is concluded with the final exam
where the student demonstrates in
an exhibition and thesis that he is
qualified to start a professional
practice. Throughout the programme,
the student is made aware of the
fact that the programme is the basis
on which he can further develop
his personal artistic ambitions and
abilities in his future professional
practice.
The programme is aimed at creating an
understanding of the conditions under
which that happens, and stimulates
the ambition to excel, partly because
of a teaching staff with interna-
tional professional practices. The
programme is centred on the idea that
the artist is part of the national
and international social mechanism,
and that the artist has a function in
it. The artist defines his signifi-
cance in this context by discovering,
developing and expressing his own
abilities and ambitions. The reser-
voir of past and present artists’
knowledge and skills, and their theo-
retical and practical positions plays
a critical role in this.
The curriculum and associated
teaching methods are consequently
strongly orientated on the world
around us. The student is challenged
by the various teaching formats in
the curriculum to discover and reveal
his talents and ambitions. He does so
in a continuous process of clarifica-
tion, revision and renewal, with the
perspective of a lifelong artistic
practice and building an oeuvre of
international stature. A student
who has successfully completed his
studies with a final exam is able to
independently research on behalf of
an authentic oeuvre and by placing
his work in the public domain. He is
also aware of the context in which
his art practice develops, both in
an autonomous as in a commissioned
situation.
Final qualifications Fine Arts
/ You create authentic work that
comes from following your own
artistic vision and contributes
to the fulfilment of your
personal ambition as an artist
(creative ability)
/ You are able to consider,
analyse, interpret and assess
your own and others’ work, and
are capable of constructively
considering your findings
in relation to your own
work (capacity for critical
reflection)
/ You are able to further develop
the breadth and depth of
your artistic practice in an
ongoing process, and in this
way contribute to developments
in your artistic discipline
(capacity for growth and
innovation)
/ You are able to establish
and maintain an inspirational
and functional working
environment, and to organize
your research, work and practice
(organizational ability)
/ You are able to effectively
present and discuss your
artistic vision, research and
work (communicative ability)
/ You are able to relate your
artistic practice to both the
artistic and social context
(external awareness)
/ You are able to make an
independent contribution to a
collaborative product or process
(capacity for collaboration)
p.29
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Diploma
Graduates are awarded a Bachelor of
Fine Arts (BFA) and are then eligible
to enter post-graduate programmes in
the Netherlands or abroad.
Post-graduate studies
After receiving their Bachelor’s
degree, graduates can enrol in a
master’s programme in design (M
Design) or art (M Fine Arts) or
another master’s programme at an art
academy. Our graduates have continued
their studies at: MAR (Master
Artistic Research) at the KABK,
the Frank Mohr Institute Groningen,
Sandberg Institute Amsterdam, Post
St Joost Fine Arts Breda, Piet Zwart
Institute Rotterdam and the Dutch
Art Institute Enschede. It is also
possible to apply to the so-called
third phase programmes: the Rijksa-
cademie or De Ateliers in Amsterdam
and the Jan van Eijck Academy in
Maastricht.
Many alumni choose to continue
their studies abroad, for example in
Glasgow, London or New York.
Admission procedure
The candidate is first invited to an
exploratory interview, where he can
ask questions about the programme and
is questioned about his own artistic
ambitions and social and cultural
orientation. After this conversa-
tion the candidate receives, if he is
deemed suitable to participate in the
admission procedure, an invitation
for the entrance examination.
When the candidate fails in only
certain respects, he is given an
additional assignment that will
be assessed separately during the
entrance examination. During this
examination, the candidate shows a
varied selection of his work to the
admission committee of the programme,
including dummies, sketches, blue-
prints, digital files, movies
and notes of ideas. The admission
committee consists of teachers and
students.
Specific admission requirements
/ The candidate must demonstrate:
/ a constant tendency to transform
experience and imagination into
two and/or three-dimensional
products, movies, DVD’s and so
on, which testify to an early
sense of artistry;
/ a developing grip on the formal
issues related to the above;
/ the need to enter the public
domain with these works;
/ a developing awareness of his
artistic context;
/ an inquisitive, self-critical
and ambitious attitude.
The candidate is considered for
acceptance when he shows a persistent
tendency to transform experiences and
imaginings into two-or three-dimen-
sional images, when he has a budding
sense of artistry, and when he demon-
strates the start of his development
of insight into the artistic context.
Candidates who are potentially suit-
able for the programme, but who show
specific shortcomings, can be given
an assignment or task after the
exploratory interview. The results
are discussed during the entrance
examination.
2.3.3 Study programme overview
full-time / part-time
The Fine Arts programme at the KABK
is offered as full-time and part-
time education, both which have to
be completed in four years. Appli-
cants for the part-time programme
in the academic year 2013-2014 are
accepted on the condition that there
are sufficient registrations for the
first year.
After the propaedeutic year, students
choose either the 2 or 3 Dimensional
domain for the third semester. For
p.30
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
the fourth semester students have to
choose one of the four sections.
In the part-time programme, students
make a choice after the third
semester between the 2 Dimensional
and the Interdisciplinary Attitude
domain. The different sections are
represented in these two domains.
Teachers advise students in their
choice. A strong and continuous line
of learning characterizes the entire
four-year programme. This means most
of the propaedeutic year teachers
also teach in the main phase and
adapt their courses to the study
programmes of the higher years. Party
because of this, students are able
to make an informed choice at the end
of the propaedeutic year, and part-
time students in the fourth semester,
between the 2 or 3 Dimensional
domains. During the course of study
there are several occasions when, if
a section change enhances the devel-
opment of the specific talents of
a particular student, students can
transfer to a different section.
Propaedeutic year
The propaedeutic year consists of
a study programme of 60 EC. During
this year, the development of
talent is linked to the orientation
of the main phase, the student’s
artistic practice and the research
into the student’s suitability for
the programme. The propaedeutic
year includes elements in which all
disciplines of the main phase are
featured, and it also includes the
courses General Art History and Field
Orientation that place the student in
the middle of a very lively art prac-
tice, by means of visiting studios,
galleries and museums. The programme
is scheduled in four sessions (after-
noon/evenings) of theory and practice
courses. The courses and credits can
be found below.
Main Phase
The curriculum in the main phase is
arranged as a foreshadowing of the
professional practice. Students work
in their studios and learn, at the
hand of numerous assignments, to
create a production flow of visual
works, to investigate the works for
weaknesses and strengths, how to
publicise work, in what artistic and
social context they operate, and what
the business and professional aspects
of an artistic practice entail. The
description of the main phase and
courses can differ for the full-time
and part-time programmes due to a
different set-up. Part-time students
can have a studio in the final year
of study.
Final Phase
The last two semesters of the
main phase are referred to as the
final phase. This final phase is
concluded with the final exam, in
which students must demonstrate with
a coherent set of authentic works,
which are presented in a convincing
way, and a thesis, that they meet the
qualifications necessary to become
a professional artist. The work must
‘speak’: the student talks about
his work and his thesis, and in the
following conversation the student is
questioned on his motivations, the
way of exhibiting and his ambitions
for the future.
The graduation candidates from all
sections organise a pre-exam exhi-
bition at the end of the seventh
semester, where they are responsible
for solving the problems associated
with making an (group) exhibition.
The exhibition takes place outside
of the academy at a location the
students choose themselves.
The main phase, including the final
phase, consists of three academic
years, or six semesters. For courses
and distribution of credit points,
see the overview below.
p.31
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.3.4 Educational and professional goals
The programme is described on the
basis of three, partly overlapping,
areas of competence:
/ artistic technical domain;
/ theoretical domain;
/ professional social domain.
Artistic technical domain
In the artistic technical domain
students mostly develop their crea-
tive ability and the capacity for
critical reflection. These abilities
or competences are considered the
most characterizing and important
for graduating students in fine arts
education. All art and design courses
develop the students’ abilities in
this domain.
Theoretical domain
Making art and designing is intellec-
tual and investigative work. Art and
design are evaluated on the basis of
artistic objectives for their rele-
vance to (inter-) national stand-
ards of professional practice. This
implies the necessity for the artist
or designer to possess adequate theo-
retical knowledge of the field.
Professional social domain
This field touches upon most of the
competences or abilities addressed:
capacity for critical reflection,
capacity for growth and innovation,
organisational competence, situa-
tional awareness and collaborative
competence.
Propaedeutic year
Competences propaedeutic year
The student needs to master the
following competences during this
phase of the programme:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information.
/ Creative ability: The student is
able to independently apply the
acquired skills and knowledge
to the production of his work,
and to complete the given
assignments in coherence with
his artistic ambition.
/ Capacity for critical
reflection: The student is able
to reflect on his work and
can evaluate its quality and
effectiveness.
/ Capacity for growth and
innovation: The student acquires
new knowledge, skills and
insights and is able to apply
them on a theoretical and
practical level.
/ Organisational competence: The
student is capable of organising
internal and external factors in
order to facilitate an effective
and inspiring work and research
process.
/ Communicative competence: The
student is able to speak about
his work and development, and
can indicate his position in
the contemporary art world, both
verbally and in writing.
/ Situational awareness: The
student demonstrates a strong
interest in historical and
contemporary art and its social
significance, and is able to
actively participate in critical
analyses of his work and that of
others.
/ Collaborative competence:
The student is able to make a
p.32
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
positive contribution to group
projects, excursions and the
pedagogical climate in the
classroom and the academy.
The propaedeutic year competences are
activated by the offered courses,
in the framework of the orientation,
selection and referencing phase of
the programme (see Description of
Study Programme).
The ability to create is encour-
aged in all the practice courses, by
assignments in the 2 Dimensional, the
3 Dimensional and lens-related and
digital spectrum of the visual arts.
The same goes for the capacity for
critical reflection and the capacity
for innovation and growth, because
the results of the assignments are
analysed, by teachers and students,
for their formal and substantive
qualities. The results of these anal-
yses fuel new assignments.
The student’s organisational compe-
tence is activated by learning to
organise the formal problems that
occur when connecting content to form,
and are inextricably linked to the
process of making: first you create
something, which is followed by crit-
ical reflection and assignments for
new work, but it is also the incentive
to review the production process and
adjust its formal aspects.
The theoretical aspects of organising
are discussed in the course Field
Orientation, in which the student is
confronted in an intensive programme
with professional practice and its
organisational aspects. In the second
semester the student learns to docu-
ment his development in the form of a
portfolio.
Additionally, students participate in
an Inauguration Programme and keep
a file in which they keep track of
their developments and comment on
them.
The Inauguration Programme is a cycle
of exhibitions at various locations
in the academy, where students are
introduced to all aspects of making
a solo or group exhibition: setting
up, design invitations, opening the
show, public discussion documenting,
cleaning. Their communicative ability
is developed in all situations
that force students to present and
explain their own or other’s work: in
the Inauguration Programme, in the
reports they write for the course Art
Orientation and during the pres-
entation for the course General Art
History. The situational awareness
of the students is developed in the
course Field Orientation, and during
excursions such as the annual trip
to Berlin, the Venice Biennale and
Documenta.
The course General Art History sheds
light on the principles and factors
that have shaped art and culture
from the early days until Romanti-
cism. During the propaedeutic year
the students develop their collab-
orative competence by organising
presentations for evaluations and
progress meetings together with their
peers, by joint ventures during the
Open Day, and by making proposals in
groups for the academy-wide project
week. Moreover, the didactic climate
encourages students to learn from
each other’s insights, ideas and
problems.
Artistic technical domain
The general visual development in
the propaedeutic year concerns the
acquiring of skills associated with
aspects of working in 2D, in the
course Drawing 1,2 and 3. Drawing 1
covers observational drawing, where
eye-hand coordination is practiced
on the issues of shape, size, plas-
ticity, tonality, colour, line,
composition, materiality etc. Drawing
2 deals with observational drawing
on the basis of the imagination.
Drawing 3 concerns drawing as a tool
for research, idea development and
processing. In the courses Painting
and Graphics, watercolour, oil and
p.33
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
graphic techniques are covered.
The course Spatial encompasses all
aspects of working with and in space,
in the material in immaterial sense.
The Optics course moves beyond the
boundaries of the general formulation
of the concept into the direction of
the concept development, because the
lens is seen as an extension of the
eye and is used as a search tool that
is able to collect personal topics
and themes. The skills of cinematic
expression are taught starting from
the camera obscura, the analogue and
the digital camera, to the video
camera and digital imaging.
Concept development
Concept development is understood as
the organisation of a step-by-step
process, in which an inspiring idea
is revealed and gradually conceptual-
ized through theoretical and prac-
tical means. The process starts with
the visualisation of an inhibited
idea, and then the idea is captured
in sketches followed by models,
designs and drafts, and finally a
suitable context for the idea is
researched. The new course Meaning
plays a central role in this process,
supported by the course Drawing 3.
In the second semester one session is
reserved for the so-called free space,
which anticipates the Individual Study
Trajectory in the main phase.
The first year has no supporting
courses, other than the film
programme, which can be seen as an
annex to the General Art History
course. The film programme PLAY/TIME
presents monthly screenings of film
history classics accompanied by an
introduction.
Theoretical domain
The General Art History course
covers the developments in art and
architecture from the early days
to Romanticism at the hand of ‘A
World History of Art’ by Honour and
Fleming, and various articles. Each
semester is concluded with an exam-
ination, students are given writing
assignments, and give presenta-
tions at least once a year. In the
first semester of the second year
students go on excursion to Berlin.
This excursion is prepared for by
attending a lecture series on the
cultural state of the city in rela-
tion to historical, political, social
and geographical factors. This cycle
is concluded with an examination. The
excursion includes visits to insti-
tutions of classical and modern art,
artists’ studios, theatres and archi-
tectural points of interest.
In the course Field Orientation
students investigate the field of
tension between artistic ambitions
and how these ambitions can func-
tion in the public domain by visiting
places where this tension is gener-
ated and/or expressed. These places
are, for example, studios, artists’
initiatives, galleries and museums.
Conversations and interviews are part
of these visits and students write up
their findings in reports.
Professional social domain
The career preparation in the propae-
deutic year is taught in the course
Field Orientation as described above.
Students gain additional experience
by participating in the Inauguration
Programme, designing a trophy in a
(simulated) professional assign-
ment, organising the evaluation and
progress meeting presentations, and
assisting the graduates with the
organisation of the pre-exam exhibi-
tion and the graduation show. After
the first semester assessments,
students intern for one week at an
art-related situation or institution.
Descriptions of the various courses
are available in separate dossiers.
p.34
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Main Phase / year 2
Section profiles
Section: Painting
All conceivable forms of painting and
drawing and amalgamations thereof,
define the disciplinary domain. The
most well known examples of this are
the gouache, watercolour, oil and
acrylic paint and tempera techniques.
But where the transfer of images
is, to a large extent, determined by
colour, numerous other new means of
expression occur in this domain, such
as photography, animation, (cine-
matic) projections and digital media.
Section: Free Graphics
This disciplinary domain is defined
by all conceivable graphic tech-
niques, such as etching, lithography,
woodcut, mezzotint, silkscreen and
offset printing, and photographic
and digital techniques. Working with
various graphic techniques creates
the possibility to print numerous
copies of the work. An interesting
option is then to create a unique
work from the copies. Another possi-
bility is to produce books, posters
and artworks, and publish them peri-
odically by traditional or digitised
means.
Section: Interdisciplinary attitudes
The section Interdisciplinary Atti-
tudes is characterized by the absence
of a disciplinary concentration or
limitation. Students and teachers
unite in an artistic ambition. By
gradually revealing this ambition,
the most suitable discipline or
combination of disciplines is deter-
mined. Social structures provide
material for research and produc-
tions. This results in theatrical
productions, video installations and
photographic works, and also drawings
and/or paintings.
Section: 3D
The disciplinary climate of the 3D
section is established in the second
year. In this section, the clas-
sical sculpture is problematized in
the ‘Large Model’ project, and the
significance of space and three-di-
mensionality is researched in all its
facets. This confronts students with
the scope of contemporary ideas of
sculpture and space. They are guided
by research, assignments (some in
the public domain) and presentations.
This process has led students to
create sculptures in the traditional
sense of the word, architecture or
proposals to that end, video instal-
lations and photographic works.
The student controls a signifi-
cant part of his study material by
creating works and reflecting on
them. Because of this, the main
learning objective for the second
year is to start and maintain an
on-going production of experimental
and investigative visual products.
The second year competences are
related to achieving this.
The described sections are imbedded
in the part-time programme in two
modular directions: 2D and Interdis-
ciplinary Attitudes. The module 2D
includes painting and free graphics,
and module Interdisciplinary Atti-
tudes also includes the 3D section
described above. Differences may
occur between full-time and part-time
study programmes.
Competences year 2
The student needs to master the
following competences during this
phase of the programme:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information
/ Creative ability: The student
is able to initiate and
maintain the production of a
wide and diverse selection of
investigative visual works.
/ Capacity for critical
reflection: The student is able
to reflect on his own work and
that of others, and can evaluate
p.35
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
its quality and effectiveness.
/ Capacity for growth and
innovation: The student can make
use of newly acquired knowledge,
skills and insights, and the
criticism of others to advance
the development of his work.
/ Organisational competence:
The student is able to create
the ideal work environment
that advances and enhances the
production of, and reflection
on, his work.
/ Communicative competence: The
student is able to discuss and
explain his work and production
process in oral and visual
presentations.
/ Situational awareness: The
student is able to research
artistic and social settings
to intensify his production of
visual work and the reflection
process.
/ Collaborative competence:
The student is capable of
collaborating with his fellow
students and/or external
parties, and employs the
experiences gained by these
collaborations to progress and
intensify his production and
research process.
These competences are applicable to
all sections. Although the compe-
tences are developed in the differ-
ence disciplinary frameworks, they
are active for the entire department
in the courses Content/form, Process,
Transfer and Theory.
Creative ability, the capacity for
critical reflection and the capacity
for growth and innovation are worked
on in the Content/form and Process
courses, where the constant flow
of images is used as a study of the
various aspects of the formation of
meaning in an image, to investigate
the articulation of size and space,
to determine weaknesses and strengths
in form and content, and to analyse
the consequences that result from
all of the above, in relation to the
use of different media and disci-
plines. The theoretical component
of the Process course stimulates
the search for a suitable context,
as a factor of growth and innova-
tion. Students also develop organ-
isational competence in the Process
course, where the source materials
and work plan function as documen-
tation. Communicative competence and
situational awareness are part of the
courses Content/Form and Process/
Research, but it is mainly in the
course Transfer and Theory where
these skills are centralised by the
making of exhibitions, the exercises
in verbal and written communication
about the students’ own and others’
work, and because these courses
reveal historical and contemporary
artistic contexts and the factors
that have (had) a formative influ-
ence on these contexts. Collabora-
tive competence is stimulated by the
fact that the students, together with
their peers, work in a large studio
space, organise internal and external
projects and exhibitions, and make a
time and space planning for the eval-
uations and progress meetings.
Artistic technical domain
General visual development
General visual development in the
second year manifests itself in four
distinctive sections within the
field of study, and also in relation
to the most important objective of
the second year: the creation of a
flow of images that is employed for
numerous analytical and reflective
interventions.
/ In the Painting section,
students paint and draw in all
conceivable media, and various
workshops are organised, such
as a tempera workshop and a
Photoshop course.
/ In Free Graphics, students are
p.36
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
acquainted with all graphic
techniques by producing a
thematic portfolio to which
all students contribute. A
bookbinding workshop provides
students with the necessary
skills to create the portfolio.
/ Interdisciplinary Attitudes
is, as the name states, an
interdisciplinary environment,
but also includes workshops in
the fields of theatre, sound and
various sensory fields.
/ In 3D, students research
materiality, structure, design
and meaning, and spatial quality
and status. They create images
and objects in all available
materials, but the emphasis
is on the ‘Large Model’, where
students work on a sculpture
based on a live model during the
course of the year. This process
includes all stages involved
when producing of a ‘classical’
sculpture. Furthermore, a
bronze-casting workshop is
organised.
Concept development
Concept development as defined in the
propaedeutic year, is also appli-
cable to this year and focuses on
students gaining control of their
flow of images in order to steer it
in a recognisable thematic direction.
Concept development is covered in
all practice courses because students
are searching for their theme in all
elements of the curriculum. In the
Process course students organise of
a functional work environment, in
order to create an effective founda-
tion for the deepening and broadening
of the research into the theme and/or
artistic ambition.
Additionally, the course Artistic
Research is offered department-wide
and enables students to apply
concepts of process and research, and
methods of materialisation, to their
own research based on personal ideas
and visual development.
Supporting courses
Supporting courses are available in
the form of various introductory
courses offered academy-wide:
/ electives and minors in
collaboration with Leiden
University;
/ optional activities in the
framework of the Studium
Generale and ‘t Hart;
/ the film programme;
/ guest lecturers who contribute
specifically to internal and
external projects.
Theoretical domain
Even though all practice courses have
theoretical components, for example
exhibition theory in the Transfer
course, the addressing of metaphors,
symbolism, style and stylization
in the Content/Form course, and the
theoretical component in the Process
course, the Theory course remains
the most important foundation for
theoretical knowledge and intellec-
tual skills. The theory programme
for the entire department is set up
as follows: students gain knowledge
of art history from Romanticism to
the present by attending lectures,
taking day trips to exhibitions, and
having group discussions in rela-
tion to a topic prepared by a fellow
student. Students keep a sourcebook
with inspiring texts and images, and
each semester write a paper on a
self-chosen topic from the field of
art, and a statement about their own
work, including motivation, inspi-
ration, relationships with other
artists and so on.
Professional social domain
The career preparation is constructed
in two parts. The first part is inte-
grated in its set-up. For example,
aspects of professional practice
are discussed during in-class group
conversations. This also happens in
other classes when necessary and
p.37
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
useful, according to the situa-
tion in the students’ studios. The
second part of the preparation is
programmed. Below you will find an
overview of that programme, based on
the programmes of previous years. An
important element of the programmed
part is the collaboration with
external partners in the field. Some
of the collaborations take place
annually, while others differ year to
year.
The following elements are offered
academy-wide: the course in Rhet-
orics/Context, the Inauguration
Programme, presentations in project
spaces, studio visits, and incidental
internships with professional visual
artists as part of the Individual
Study Trajectory.
Alternating per section and study
year, the department collaborates
with the following external partners:
/ Nest, The Hague
/ Committee Room,
municipality The Hague
/ Filmhuis The Hague
/ Diligentia, The Hague
/ Mama, Rotterdam
/ Stroom, The Hague
/ Tent, Rotterdam
/ Metropolis M
Second year students of all sections
prepare group exhibitions, as prelude
to an exhibition in the third year.
Main Phase / Year 3
The completion of the second year has
rewarded students with a rich harvest
of formal and substantive questions.
In the third year, these questions
are employed in all sections for the
research into their interrelation.
Competences year 3
The student needs to master the
following competences during this
phase of the programme:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information
/ Creative ability: The student
is able to create thematic
and formal coherence in the
continuous production of visual
works.
/ Capacity for critical
reflection: The student
can pinpoint weaknesses and
potential strengths in the
process towards thematic and
formal coherence.
/ Capacity for growth and
innovation: The student is able
to continuously develop his
artistic ambitions by focusing
on coherence in his work.
/ Organisational competence: The
student can organise his work
and research process to such an
extent as to optimally advance
the revealing of thematic and
formal coherence.
/ Communicative competence: The
student is able to discuss
and explain the coherence in
his work in oral and visual
presentations.
/ Situational awareness: The
student increasingly positions
himself in relation to artistic
and social settings, which
intensifies his research into
thematic and formal coherence.
/ Collaborative competence:
The student is capable of
collaborating with his fellow
students and/or external
parties, and employs the
experiences gained by these
collaborations to advance the
research into thematic and
formal coherence.
p.38
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
The student’s creative ability, the
capacity for critical reflection and
the capacity for growth and innova-
tion are further developed in the
course Content/Form and in the prac-
tical and theoretical components of
the Process course. Organisational
competence is developed in, among
others, the practical component of
the Process/Research course, and
communicative competence and situ-
ational awareness in the courses
Transfer and Theory. The student’s
collaborative competence is stim-
ulated in a similar situation as
described in the second year compe-
tences above, and happens in the
course Transfer by means of several
internal and external presentations
and exhibitions.
Artistic professional domain
General visual development
The description of the second years’
general visual development also
applies to the third year, with
the difference being that all the
produced works serve the research
into the coherence of the artistic
production. Central to this research
is the continuing revelation of the
personal artistic abilities and
ambitions. All practice courses
contribute to this, including the
Theory course, in which students
further develop their insight and
understanding of their own situation
by relating it to an inspiring and
critical context.
Concept development
The description of the second years’
concept development equally applies
to the third year, but additionally
relates to the central objective of
this study phase. The concept devel-
opment is thus focused on the struc-
turing of all formal and substantive
questions that arise in the search
for coherence, and the unveiling of
the authentic artistic practice. The
Process course is the most important
in this development.
Supporting courses
Specific courses and workshops in the
framework of the career preparation
are described in the professional
social domain below. The other possi-
bilities of supporting courses are
described under ‘Supporting courses’
in the Year 2 section.
Theoretical domain
In the third year, students are
intensively confronted with various
philosophical, aesthetic and social
models of thinking. The teaching
material consists of the book ‘De
Donkere Spiegel’ (‘The Dark Mirror’)
by Frank Vandeveire and a wide range
of art historical literature, maga-
zines and newspapers. The students
learn to name artistic problems,
concepts and principles, and get
a hold of the theoretical issues
present in their work. Each semester
the student writes a statement about
his own work and a research paper.
The topic of the first paper is an
art movement in relation to social
development, and the second is the
question ‘what is art’. At least once
a year each student gives a presenta-
tion on a theoretical topic. At the
end of the academic year, the student
determines the subject of the thesis.
For further information about the
theoretical domain in year 3 please
refer to the description of year 2.
Professional social domain
The activities described for the
second year also apply to the third
year. Additionally, projects and
collaborations are organised for the
third year students each year. These
activities specifically relate to
their stage of development.
Students in all sections participate
in the Documentation Workshop. This
workshop consists of several sessions
spread out over the academic year,
and teaches students to:
p.39
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ document work for presentations
and/or grant or subsidy
applications;
/ compile and present a portfolio;
/ give verbal presentations;
/ write texts for presentations,
grant or subsidy applications,
job assignments and post-
graduate studies.
Additionally, students follow
Finance and Business Plan courses,
and participate in a Grant/subsidy
Application Writing workshop and a
workshop on presenting. Students in
each section collaborate to organise
an exhibition. The projects with
external partners as mentioned in
the description of the second year,
are employed in the third year in
relation to the students’ stage of
development.
Main Phase + Final Phase / final phase
In the final phase, the learning
objective is the full development of
the personal signature in content
and form, as has been revealed in
the third year. All aspects of the
research process, including the
process-based structure in which
it takes place, is tailored to the
unique convergence of content and
form. These aspects are addressed
in the courses Process/Research
and Content/Form. Furthermore, the
student masters the practical and
theoretical aspects of making his
work public in the Transfer course,
as well as the financial/adminis-
trative side of being an artist.
The competences for this phase are
related to this learning objective.
Artistic technical domain
General visual development
All painted, graphic, sculptural and
other disciplinary works are employed
to hone down the merging of form and
content. This is a process of refine-
ment in the already acquired visual
idiom, to which the practice courses
and the Theory course contribute.
The Theory course addresses inspiring
and refining contexts in the theory
lessons, through which students are
encouraged to further personalise
their work.
Concept development
Concept development, according to
the definition given above, focuses
on the structuring of all formal and
substantive questions that occur when
the student makes the final decisions
(in the framework of the programme)
concerning his theme and the form it
will take. The Process course is of
importance in this phase, and also
the Transfer course, because the work
tends to reveal itself more easily,
in all its formal and substantive
peculiarities, in public situations
than in the studio.
Supporting courses
Supporting courses are not part of
the final phase of the programme,
except in the professional practice
workshops and activities. These are
described in the paragraph on the
professional social domain.
Theoretical domain
In the final phase of the programme,
the Theory course is primarily focused
on the writing of the thesis, for
which the student has decided on the
subject at the end of the third or
fourth year. The thesis is a report of
a comprehensive investigation, which
is related to the student’s work. It
should show the student’s ability for
reflection, an extensive understanding
of the history of art and insight
into the context of his work. The
theses are discussed in groups in the
first semester, and are individually
supervised in the second semester.
The minimum size is 25 pages of typed
text, excluding images. The source-
book is again a means of inventory,
inspiration and documentation that
is directly related to the student’s
stage of development.
p.40
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Professional social domain
Most of the external activities that
are available in the second and third
year are also available for fourth
year students.
The following activities are organ-
ised specifically for fourth year
students from all sections:
/ The day of post-graduate
studies: Dutch institutions that
offer post-graduate studies
present and international
Masters are discussed. Third
year students are welcome to
attend on the condition it
does not interfere with their
schedules.
/ The ‘Day of the Future’ consists
of lectures on the local
cultural policies (Stroom),
presentations by het Fonds voor
de Kunst (Fund for the Arts),
lectures by various gallery
owners and artists’ initiatives,
presentations by the Chamber of
Commerce, and talks by alumni
from different years about
their experiences after having
graduated.
/ The pre-exam exhibition: the
exhibition is organised by
students and takes place outside
of the KABK building. It also
includes a publication.
/ The portfolio/networking day:
artists’ initiatives, galleries
and curators present themselves
and view/evaluate students’
portfolios.
/ The graduation show: the final
show is the masterpiece (in
all respects) of the starting
professional practice.
Graduating part-time students are
able to use studio space at the
academy during their final two
semesters. Other part-time students
follow the programme by attending
classes or at the hand of individual
talks. Part-time students can also
attend guest lectures, workshops and
lectures that are scheduled during
the day.
p.41
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.3.5 Department organisation
The head of department is respon-
sible for the department’s policy and
all aspects related to this policy.
The team of lecturers reflects the
content of the programme and its
professional set-up.
All teachers have a professional
practice. Because of the diversity in
experience and expertise, the student
is confronted with numerous aspects
and approaches of the discipline.
Specific knowledge of the profes-
sional field is offered by means of
guest lectures.
Head of Fine Art department
Johan van Oord
Coordinator Fine Art full-time
Martijn Verhoeven
Head of part-time programmes
Ernst Bergmans
Coordinators Fine Art part-time
Willem Goedegebuure
Onno Schilstra
Team of lecturers
Marijke Appelman
Rachel Bacon
Channa Boon
Maura Biava
Engelien van den Dool
Irene Droogleever-Fortuyn
Marion Duursema
Pieter van Evert
Willem Goedegebuure
Christie van der Haak
Cecile van der Heiden
Eric Hirdes
Anja de Jong
Winnie Koekelbergh
Ton van Kints
Klaas Kloosterboer
André Kruysen
Frans Lampe
Jeroen de Leijer
Frank Lisser
Alexander Mayhew
Janice McNab
Willem Moeselaar
Anja Novak
Johan van Oord
Reinoud Oudshoorn
Maria Pask
Hans van der Pennen
David Powell
Ewoud van Rijn
Hester Scheurwater
Onno Schilstra
Els Snijder
Michel Snoep
Elly Strik
Martijn Verhoeven
Pim Voorneman
Guest teachers in 2012-2013:
Laurence Aegerter
Karla Black
Bonno van Doorn
Blazej Ostaja Lniski
Marcel van Eeden
Nare Eloyan
Robert Florzak
Katinka van Gorkum
Kaleb de Groot
Voebe de Gruyter
Sigitas Guzauskas
David Haines
Adosh van der Heijden
Maria Hlavajova
Roos Hoffmann
Vlatka Horvat
Karin de Jong
Ad de Jong
Robertas Jucaitis
Heringa/van Kalsbeek
Xander Karskens
Frank Koolen
Luk Lambrecht
Kaisa Leka
Christoffer Leka
Joris Lindhout
Eelco van der Lingen
Rinke Nijburg
Nishiko
Olafur Olafsson
Willem Oorebeek
Femmy Otten
Philip Peters
p.42
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Rory Pilgrim
Willem Popelier
Andrej Radman
Arno van Roosmalen
Niels Schrader
Jim Shaw
Marleen Sleeuwits
Francesco Stocchi
C. Torres Mayans
Dani Tull
Renee Turner
Ola Vasiljeva
Adam Zdrodowski
Italo Zuffi
p.43
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.3.6 Total overview of qualifications

QUALIFICATIONS PROPAEDEUTIC YEAR MAIN PHASE, YEAR 2
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
p.44
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
QUALIFICATIONS MAIN PHASE, YEAR 3 MAIN PHASE, YEAR 4
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You create authentic work that
comes from following your own
artistic vision and contributes to
the fulfilment of your personal
ambition as an artist
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to consider, analyse,
interpret and assess your own and
others' work, and are capable of
constructively considering your
findings in relation to your own
work
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to further develop the
breadth and depth of your artistic
practice in an ongoing process, and
in this way contribute to develop-
ments in your artistic discipline
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to establish and
maintain an inspirational and
functional working environment, and
to organize your research, work and
practice
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to effectively present
and discuss your artistic vision,
research and work
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to relate your
artistic practice to both the
artistic and social context
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to make an independent
contribution to a collaborative
product or process
p.45
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
* Drawing 1 and 2 are taught spread out over semesters 1 and 2
** Incl. Business Plan Writing in year 3

1st year: Due to the changed Research & Discourse programme minor adjustments of the EC is an possibility.
FINE ARTS FULL-TIME
Year 1 2 3 4
Course 1 2 3 4 5 6 7 8
Drawing 1, Drawing 2 (*) 3 3
Meaning 3 3
Spatial 3 3
Free Space 3
Optics 3 3
Graphics 3 3
Painting 3 3
Main phase PAI/FR GRA/INT
ATT/3D
12 12 12 12 12
Programmed career preparation (**) 3 3 3 3 3
Integrated career preparation 3 3 3 3 3
Academy-wide propaedeutic year
project week
1
End exam 18
Professional field orientation 6
Week internship 2
General Art History 2 2
Berlin excursion 2
Theory 6 6 6 6 6
Research and Discourse 3 3
Thesis 6
IST 6 6 6 6 6 6
Total 29 31 30 30 30 30 30 30
2.3.7 Study points overview
p.46
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
FINE ARTS PART-TIME
Year Propaedeutic
module
Module 1 Module 2 Module Exam
Semester 1 2 1 2 5 6 7 8
Drawing 5 5 4
Spatial I 4 4
Spatial II 4
Photography 3 3
Visual Development 4 4
Painting 4 4 4
Sculpture 2 2
Orientation 2D/Interdisciplinary
Attitudes
2
Main phase 2D/Interdisciplinary
Attitudes
12 12 12 12
Programmed career orientation a.o.
presentations
2 3 4 4 4
Integrated career preparation 2 3 4 4 4
Presentation collective assessment 5 5 5 5 5 5 5
End exam 24
Art History 5 5 5
Theory 5 5 5 5
Final thesis 6
Total 30 30 30 30 30 30 30 30
EC after individual assessment 24 24 24 24 24 24 24 24
EC after collective assessment 6 6 6 6 6 6 6 6
p.47
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.4 Photography
2.4.1 General description of the discipline
History of the discipline
Since the beginning of the nineteenth
century, photography has evolved into
an independent visual medium. This
has had far-reaching consequences for
socio-cultural developments from that
time onwards. When the Kodak Company,
founded in 1888, made photography
accessible to the common man, the
whole world started to take photo-
graphs and send them to each other.
This became the basis of what later
would be referred to as ‘the image
culture’. Communication through
photographic images has since been
prominently embedded in our society.
This has happened to such an extent
that the images we encounter via
media technology increasingly deter-
mine our view of the world. Simulta-
neously, the communicative power of
these images influences and organises
our lives. The virtual reality is
becoming more and more important in
relation to the physical reality.
Current situation of the discipline
Almost everyone makes photographs and
knows how to communicate with them.
Nevertheless, students are still
being educated to become professional
photographers. Over the course of
history, photographers have developed
their own high-quality image culture.
Contemporary photography covers an
enormous spectrum and branches out
into all levels of society and holds
an important position in the world of
the visual arts.
A lot is demanded from a contemporary
professional photographer. He does
not only understand his profession in
a technical and aesthetic sense, but
has profound knowledge and an under-
standing of the meaning, symbolism,
value and impact of the photographic
image. In addition, he must possess
the wide-range of artistic abili-
ties necessary to achieve a desired
effect or have it function inde-
pendently. He must also claim a
position in the contemporary cultural
field and distinguish himself, which
means he has to be able to express
his personal vision verbally and in
writing.
Contemporary professional practice:
the professional profile
Below we highlight the professional
profile on which the Photography
programme is based.
The current professional is an
author, in the sense that he is
a maker, finder, and creator. He
can practice the profession in the
traditional sense and is able to
help the evolution of the disci-
pline. A photographer in our current
time is an entrepreneur who knows
how to create support for his work.
He has an extensive frame of refer-
ence of the field and the discipline,
particularly in an international
context. He has a vision of the
discipline’s position in the world of
art and culture and in social devel-
opments. He is aware of the multitude
of platforms that offer opportuni-
ties, such as the Internet and tradi-
tional journals. He has an extensive
network of and is able to work with
others.
Our society is witness to an
increasing number of people using
the medium of photography without
considering the technical quality
of the images, and as a response,
professional photography is seen to
be moving in the opposite direction.
Each genre or specialism has increas-
ingly specific requirements. The
professional practice of the photo-
journalist has become more signifi-
cantly distinguished from that of the
conceptual documentary photographer.
This trend appears across the entire
field of photography. As a conse-
quence, the young professional has to
comply with increasingly higher and
specific demands. He should be well
informed about how he wants to enter
the professional field and on which
p.49
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
platform he can present his work in
order to be recognised as a profes-
sional.
2.4.2 Study profile
As the only photography department
at a Dutch art academy, we focus
on the four major areas in profes-
sional photography: conceptual
documentary photography, photojour-
nalism (Documentary), fashion/life-
style photography and photography on
commission (Fiction).
In the first year of study these
areas are thoroughly introduced to
the students. After the propaedeutic
year, students choose for a three-
year programme in either documentary
photography and photojournalism, or
in fashion/lifestyle photography
and advertising photography, where
they position their work in one of
these areas on the basis of further
choices. They study in only one of
these areas.
The department’s objective is to
educate students to become self-aware
and independent photographers with a
recognisable visual language and a
personal vision, and who are able to
work on commission and independently,
by developing concepts and initiating
projects. Their motivations, themes
and ethical standards are evident to
others.
Characteristic of our programme is
that we take the professional field
of photography as our point of depar-
ture. Students are given assignments
resembling, or based on, profes-
sional assignments, and usually work
on several projects simultaneously.
We pay close attention to how the
student develops his initial ideas
into to a final series, with all the
accompanying production activities.
Another characteristic is the strong
emphasis we place on the development
of intellectual and visual qualities.
We ask the students to approach their
subjects with curiosity and an open
mind, and then vigorously research
them. This requires an interest in
the content, background, and diverse
ways to represent a subject.
While investigating, the students
develop their own visual language and
discover how their vision on topics
and on the profession of photographer
relates to the visions of others.
Our aim is to teach students how to
be independent thinkers, who, from
a personal vision on the medium as
well as on the world, are constantly
searching for authentic images.
The curriculum consists of alter-
nating work discussions, workshops
and lectures and is dynamic in char-
acter. In a short period, students
gain knowledge of various fields
and develop skills to operate inde-
pendently. Because their subjects are
often situated outside the academy,
students regularly work on loca-
tion. In the academy they edit their
images, work on prints and partici-
pate in collective work evaluations
and the preparation of publications
and presentations. The students
thus do not only learn from their
teachers, but also from their peers.
The educational process is domi-
nated by a commitment to continuously
strive for research, authenticity,
depth and professionalism, and is
supported by a programme of elec-
tives and guest lecturers from the
international field. Expertise from
other disciplines is employed when
necessary, which allows students to
develop strategies to present their
work optimally and in a suitable
context.
The main aim of our programme is
to educate our students to become
the professionals of tomorrow, who
connect their own visual language
with a professional way of working on
a national and international level.
p.50
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Facts as departure point for Photography: specializa-
tion ‘Documentary’
‘Documentary’ is the umbrella term
used by the KABK for the professional
practice of conceptual documentary
photographers and photojournalists.
Although the practice of photojour-
nalists differs from that of concep-
tual documentary photographers, they
are similar in their depiction of
subjects with news value or with
significance for the target group of
the photograph’s medium. This prac-
tice is most commonly used to reflect
on contemporary history or its
documentation. These photographers
identify with social processes and
concrete subjects, wonder about them
and are curious.
Photographers, who work from facts,
offer us a window to reality.
However, subjectivity is essential
for their individual style. A posi-
tion statement is important for the
impact of their photography. These
photographers must pay attention to
the preliminary phase of research.
This means they have to read about,
and empathize with, the subject,
consult specialists and tap new
markets.
The artistic autonomy enjoyed by
these photographers is closely linked
with the policies of the platform for
which they work. Photographers who
employ photography as an informative
medium focus their loyalty on the
user of the photos: the public.
Yet there is a clear distinction
between the photojournalist, who
describes reality and is constantly
aware of news value, and the concep-
tual documentary photographer. Both
disciplines revolve around current
events, but the centre of gravity of
photojournalism is direct reporting
while conceptual documentary
photography will more likely be used
to depict a subject.
Fiction as departure point for Photography: speciali-
zation “Fiction”
Fiction at the KABK consists of the
closely related sub-fields adver-
tising photography and fashion/life-
style photography. Fiction photogra-
phers are photographers who produce
high-quality work from a staged
situation or with the suggestion of
staging. Most fiction photographers
have impressive technical skills
and possess an artistic streak that
allows them to adequately represent
their subject. They are strongly
committed to their assignment.
Their work is the result of inten-
sive research into the nature of
the image and photographic visual
language in particular, and is
intended to distinguish itself in the
torrent of images. Therefore, adver-
tisement and fashion photographers
are increasingly developing their
own concepts to work from. On the
basis of their authorship they are
active in different contexts, which
they creatively adapt to suit their
needs. They have a rich imagination,
representational skills and a clear
mind. The emphasis in their work is
on the creation of concepts and the
pursuit of the right visual presenta-
tion in combination with a sophisti-
cated technical execution. They often
collaborate in multidisciplinary
teams.
Final qualifications Photography
The graduate meets the following
final qualifications:
/ You are able to develop an
innovative concept arising
from your artistic ambition
and research, elaborate it
into a distinctive image,
product, means of communication
or spatial design, and to
contextualize it in a meaningful
way (creative ability)
/ You are able to consider,
analyse, interpret and assess
p.51
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
your own and others’ work, and
are capable of constructively
considering your findings
in relation to your own
work (capacity for critical
reflection)
/ You are able to further develop
your vision, work and working
methods in breadth and depth
through an ongoing process
of research, and in this way
contribute to your discipline
and to society (capacity for
growth and innovation)
/ You are able to establish
and maintain an inspirational
and functional working
environment and to organize
your research, work and practice
(organizational ability)
/ You are able to effectively
present your vision, research
and work and engage in a
dialogue with clients and
other interested parties
(communicative ability)
/ You are able to relate your
artistic practice to the
artistic and social context
(external awareness)
/ You are able to make an
independent contribution to a
collaborative product or process
(capacity for collaboration)
Diploma
Graduates are awarded a Bachelor of
Design (BDes).
Post-graduate studies
After receiving their Bachelor’s
degree, graduates can enrol in a
master’s programme in design (M
Design) or art (M Fine Arts) or
another master’s programme at an
art academy, or the MA Photographic
Studies at Leiden University.
Admission Procedure
Candidates are invited for a trial-
morning at the department. The
portfolio and take-home assignments
are discussed in the course of the
morning and candidates get advice on
how they might improve their work. It
is recommended that candidates sign
up for the trial-morning as early as
possible. It is possible to partic-
ipate in multiple trial-mornings.
Candidates who are deemed suitable
to apply receive an invitation for
an entrance examination. During the
entrance exam the candidate works
on an assignment and the admission
committee assesses the candidate on
the basis of his portfolio and an
interview. The work consists of a
diverse selection of both visual and
photographic work, supplemented by
the home assignments. The candidate
has one or more conversations about
the work. The committee consists of
students and teachers.
Specific admission requirements
The candidate should sufficiently
meet the following requirements:
/ has a passion for the visual,
especially for the medium of
photography;
/ has a particularly broad social
interest;
/ has the need to constantly
visualise his interests and
ideas in photography;
/ wants to make his own ideas
public;
/ has good communication and
social skills;
/ has organisational talents;
/ takes initiative and has an
entrepreneurial spirit;
/ has perseverance;
/ can operate both as a soloist
and collaborate with others;
/ is able to think critically;
/ is also able to develop on a
textual level;
p.52
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
/ is somewhat aware of the
infrastructure of the
photographic field in the
Netherlands;
/ demonstrates some experience in
the use of the medium to reach
his visual goals;
/ works on photographs in serial
form;
/ is aware that photography is
one of the visual disciplines
and that this requires more
than just excellent technical
expertise or an eye for
aesthetics.
2.4.3 Study programme overview
Overview study full-time/part-time
The full-time programme offers the
specialisations ‘Documentary’ and
‘Fiction’. The part-time programme
only offers the specialisation
‘Fiction’.
Full-time programme
The full-time programme covers four
years. For the set-up of the semes-
ters in the full-time programme
please refer to descriptions per year
below.
Part-time programme
The four-year programme is also
divided into semesters. The programme
consists of modules that together
form a complete package and can also
be taken separately (coming soon) on
the condition that student’s level
of competence is deemed sufficient.
After the student has success-
fully completed the exam module he
has met the final qualifications of
the current bachelor’s programme in
Photography.
This educational set-up also allows
us to offer the part-time programme
in four years. The lessons are mostly
given on two days; one day will most
likely start at 14:00 and the second
day at 16:00. The last class ends at
21:45. In the final phase students
should be available for one full
workday a week.
For the set-up of the semesters in
the full-time programme please refer
to descriptions per year below.
The part-time programme Photography
has the same programme as the full-
time programme, but with a different
organisation and set-up. No intern-
ship period is included in the
programme (as of yet). Career orien-
tation should therefore be inde-
pendently undertaken in addition to
the programme. Part-time students are
able to follow parts of the full-time
curriculum, albeit with permission.
Individual Study Trajectory
The Individual Study Trajectory
(IST) is available for all students
from the second year onwards, and
has as aim to broaden and deepen the
programme. To this purpose, space
has been created in the schedule. The
study load and appointed credits are
allocated to the IST in consultation
with the team of lecturers. There are
several possibilities to organize the
Individual Study Trajectory, such
as to following a minor at Leiden
University. In addition to the elec-
tives, students can use the IST to
deepen the programme by giving more
attention to the compulsory courses
or by choosing from the academy-wide
IST offer. The IST is accompanied by a
study plan that requires the approval
of the team of lecturers and is
supervised by a coach.
In the main phase, 12 EC are allo-
cated to the Individual Study Trajec-
tory. The part-time students can
profit from the offer of electives
mostly during the daytime. They are
also allowed to take courses in the
full-time curriculum (only if space
is available and with permission).
For general information about the IST
please refer to the chapter 6.1.3.
p.53
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Propaedeutic year
(Exploration and visual development)
Full-time / Part-time: semesters one and two
The propaedeutic year programme is
focused on visual development. The
properties of photographic visual
language are extensively researched,
with technical skills supplying a
solid foundation. The student’s indi-
vidual abilities are explored in a
wide range of subjects. These are,
when possible, offered coherently.
Field orientation of the discipline
and its professional opportunities
is centralised in the programme. This
happens in both theory and practice
courses, and also during field visits
outside the academy. The emphasis is
on learning to study and structuring
the individual work process. The
student is encouraged to pose ques-
tions to himself and attempt to find
the answers. A coach and a profes-
sional practice programme for the
general development of study skills
support the study process. This phase
creates the foundation for a profes-
sional attitude that enables students
to develop their authorship necessary
for their future after the academy.
At the end of the year, the programme
has provided sufficient insight for
students to choose their profile for
the rest of the programme. The moti-
vation for this choice is reflected
in a final presentation and in the
composition of the portfolio. The
course descriptions on the website
describe the content, teaching
methods, instructional forms and
assessment of the programme compo-
nents.
The study components covered in the
first two semesters are:
/ Orientation of the discipline
/ Acquisition of professional and
study skills;
/ Visual development;
/ Conceptual documentary
photography, photojournalism,
advertising photography and
fashion/lifestyle photography;
/ Photographic skills and digital
techniques
/ Theory/art and photography
history and reflection;
/ Graphic design;
/ Instruction software programmes,
colour management, archiving and
workflow.
Main Phase / year 2
(In-depth research and
professional competences)
Full time/Part time: semesters three and four
In this phase students engage in more
extensive and substantive research
into the world of photography and
the professional practice of the
chosen specialization: ‘Documentary’
or ‘Fiction’ (full-time only). Much
attention is given to the compe-
tences required for the practice of
the specialisation, with the social
functioning and the development of
social skills being the key concepts.
The ethical side of the profes-
sion is also extensively discussed.
Photography in ‘Documentary’ focuses
on the acquisition of background
information (research) on a diverse
range of subjects before the actual
act of photographing. In ‘Fiction’
photography the emphasis is on the
creation of concepts and the pursuit
of the appropriate visual execution
in combination with a sophisticated
technical execution. Students regu-
larly work together in multidiscipli-
nary teams. An important motivation
is to change the attitude of involved
third parties.
p.54
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Moreover, the student is confronted
with the specific possibilities of
applying his work in the following,
very diverse, markets:
/ printed media newspaper,
magazines, books;
/ various electronic media;
/ autonomous museum space.
/ Within these three frameworks,
both specialisations focus on:
/ Conceptual photography: the
image as guidance to and/or
translation of ideas, texts,
thoughts, experiences;
/ Autonomous photography: the
photographer researches his
personal artistic goals and
possibilities.
The second year is also divided into
semesters. Each semester is then
divided into two thematic blocks
(when possible). The themes are,
where necessary, adapted to the
chosen specialisation, or the three
markets mentioned above. The course
descriptions on the website describe
the content, teaching methods,
instructional forms and assessment of
the programme components.
Fixed course components applicable to
both study profiles are:
/ genre photography specific to
the selected profile;
/ autonomous photography;
/ photographic and digital
techniques;
/ image and concept development;
/ professional practice skills;
/ audio-visual media, AV and film
theory (as elective after an
introduction block);
/ graphic design;
/ interactive media and media
philosophy (as elective after an
introduction block);
/ art and photography history,
theory and reflection;
/ sociology;
/ communication.
Specific to the specialisation
‘Fiction’ are advertising photography
and fashion/lifestyle photography,
and for the specialisation ‘Documen-
tary’ these are photojournalism and
conceptual documentary photography.
Main Phase / year 3
(Professionalisation)
Full-time / part-time: semesters five and six
Full time
In the third year, the focus shifts
from research and skills to ‘profes-
sionalisation’. The previously
acquired knowledge and skills are
placed in relation to the field and
the professional practice. From a
personal standpoint the student
chooses to engage with the world
outside the academy: the portfolio is
geared towards this, and a thematic,
project-based semester offers the
student the possibility to test and
define his position in the profes-
sional world.
The components photojournalism and
conceptual documentary photography
are specific to the specialisation
‘Documentary’, and are supported by a
course in Sociology. The specialisa-
tion ‘Fiction’ offers the sub-fields
advertising photography and fashion/
lifestyle photography. In a related
project description as a result of
a research period, students substan-
tiate their choice for one of these
sub-fields.
Special attention is paid to visual
investigation, so-called artistic
research, and the student’s ability
to work with different visual strat-
egies. The student works inde-
pendently and makes highly indi-
vidual choices. The realisation of
the described plans and study content
p.55
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
within the central project, as well
as the possible participation in
practice projects, is done in close
consultation with the coach, fellow
students and the team of lecturers.
The programme includes a number
of elements for students from all
specialisations:
/ Autonomous photography;
/ Professional skills;
/ art and photography history,
theory and reflection;
/ audio-visual media, AV and
film theory (as elective in the
second year);
/ interactive media and media
philosophy (as elective in the
second year);
/ graphic design;
/ visual development aimed at
spatial presentation.
In the sixth semester, students
intern at one or two internships.
These internships are very diverse
and are related to the specialisa-
tion and at least one of the markets
mentioned above.
During the internship students learn
to work in teams, with formulated
assignments, with a time limit and
together with a client. In addition,
the students gain useful experience
about how to network. Moreover, the
internship enables the students to
test their expectations about their
own possible specialisation in the
field. At different moments during
the internship, students return to
the academy to discuss their experi-
ences with the internship supervisor
and to receive information about the
internship report. These are also
moment to exchange experiences with
fellow students (second year students
are also present in these meetings
as preparation for their choices in
the following year). The internship
supervisor writes a report, which
is part of the evaluation. For more
general information on the intern-
ship, please read chapter 6.1.9.
Part-time
The part-time programme does not
include an internship period. There-
fore, the student independently
initiates his career orientation, but
it is still a part of the programme.
In the sixth semester, the student
enters the examination trajectory, in
addition to a few fixed courses. This
includes a properly substantiated
choice of specialisation in relation
to the discipline as a result of the
professional practice orientation.
The goals associated with this stage
are that the student:
/ has composed a study plan
(professional profile),
with an updated accompanying
argumentation;
/ has achieved the study
objectives of the projects and
programme components associated
with this phase;
/ has demonstrated to have gained
the qualities, skills and
insights to claim his position
within the field of photography;
/ has deepened his research;
/ demonstrates an interest in
all aspects of the work and
design process and expresses
interest in all aspects of the
profession;
/ should be able to bring the
final phase of the programme to
a successful conclusion;
/ has explored and experienced the
field;
/ has demonstrably prepared
to become a professional
photographer.
p.56
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Fourth year
(Profiling and positioning)
Full / part time: semesters seven and eight
Full time / Part time
This phase is characterised by
‘profiling’. The conclusion of the
internship/ career orientation period
is the prelude to the final year of
study. Students write another study
plan written with a revised profes-
sional profile:
/ practical documentary /
photojournalistic / fashion/
lifestyle / advertising
photography, related to the
written professional profile;
/ entry in an international photo
festival (IST) or participation
in a prestigious competition;
/ project of the student’s choice,
which relates to the chosen
profile, presented in two of the
presentation options/platforms:
one that matches the methods
of the professional practice
and one that centralises the
student’s possibilities for use
(interdisciplinary);
/ thesis, in which research for
student’s projects is further
expanded and explained;
/ portfolio;
/ career preparation.
The final exam
The programme is concluded with a
one-day examination. Each student
presents work that is made specifi-
cally for the exam, a well-designed
thesis and portfolio. The professional
profile, business plan and project
descriptions provide information about
the presented work. Each student is
allocated a space where he can build
up the presentation from at least four
days prior to the exam onwards. On the
examination day the student is given
the opportunity to explain and justify
his work. The exam committee poses
additional questions.
After the exam the graduating
students focus on a group exhibi-
tion that is open to the public. A
catalogue accompanies the exhibi-
tion. The examination consists of the
director, the head of department and
an external assessor, in addition
to a representation of accompanying
teachers from the senior year. The
external assessor is an expert in the
field of photography.
2.4.4 Professional objectives
Propaedeutic year
(Exploration and visual development)
Full-time / part-time: semesters one and two
The propaedeutic year is concluded
with an exam during which the student
is assessed on the basis of his
suitability for the discipline. The
student presents and substantiates
his work and shows its accents. The
work done for theory courses is part
of the exam. The study attitude,
especially the student’s commit-
ment and level of independence, in
the work process are also taken into
consideration. The vision and depth
demonstrated in both the process and
the end result are of importance in
passing the exam, but also for the
selection of the specialisation.
The student must be deemed able to
complete the programme in the speci-
fied period and then work as an inde-
pendent photographer.
The objectives are:
/ Learn to study and organise
the work and design process.
This includes the acquiring of
knowledge, understanding and
skills related to the employment
of substantive and formal
visual means. Apply the acquired
knowledge, understanding
and skills to improve given
assignments.
/ Develop an inquisitive,
examining and self-critical
p.57
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
attitude, own initiative
regarding the work, verbal and
written communication skills
and reflective and analytical
ability.
/ Acquire theoretical knowledge
and insight regarding the study
content of the project.
/ Gain technical skills related
to photographic tools and
techniques and 2D tools and
techniques such as drawing,
painting and graphic techniques.
/ Gain insight into the desired
professional field: editorial,
commercial or otherwise.
Competences
The competences for the propaedeutic
year are:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information
/ The student can create new work
in which he explores new methods
based on the experiences and
insights he has gained through
the programme.
/ The student is able to reflect on
his work and can evaluate its
quality and effectiveness.
/ The student demonstrates the
will to make new discoveries and
acquires new knowledge, skills
and insights and is able to apply
them on a theoretical, practical
and photographic level.
/ The student can organize his
own work process and is able to
document and archive his work.
/ The student is able to
substantiate his choice for,
and deployment of, resources,
materials and/or visual solutions.
/ The student shows a broad
interest in social, sociological
and cultural developments and is
able to distinguish different
photographic visions.
/ The student can achieve his own
goals while collaborating with
others.
/ The student is able to
substantiate his choice of
specialisation.
Artistic technical domain
The development of a photographer/
image maker commences at the start
of the programme. A professional
photographer is not just someone
taking pictures: he shows strong
similarities with other artists in
the visual arts. That is why the
student’s general visual develop-
ment is primarily prioritized in the
curriculum. Additionally, atten-
tion is given to specific visual
aspects related to the medium. The
focal point is the work process with
concept development as its goal. It
is equally important that students
develop skills with regard to photo-
graphic tools and techniques and in
the digital field.
Theoretical domain
All propaedeutic year students are
taught general art and cultural
history and academic skills.
Furthermore, students participate
in a programme covering art and
photography history and reflection,
which offers them an extensive frame
of reference. Students visit exhi-
bitions and museums throughout the
year, where they analyse and reflect
on the work of others. This is
done both verbally and in writing.
Debating skills on various topics are
developed in the course Field Orien-
tation. In different courses students
are asked to write reports.
Professional social domain
Professional development takes place
throughout the year, mostly through
self-study. Students are required
to independently visit exhibitions
and create and maintain a personal
archive of reviews, book reviews
and general information relating to
the profession. In the module Career
Orientation this is connected to
p.58
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
the attitude necessary to work in
the field and meet to the demands
of the discipline. In addition, a
project week focused on the profes-
sional field is reserved at least
twice a year. In one of these weeks
the students visit photographers,
editors, agencies and bureaus. In the
other project week students engage in
fieldwork or visit a photo festival.
Guest lectures are organised regu-
larly in the academy in relation to
current events in the field. Partic-
ipation in lectures and workshops in
the field is encouraged.
Main Phase / year 2
(Proficiency and in-depth research)
Full-time / part-time: semesters three and four
The first part of the main phase
has as its main objective to provide
students with a clear understanding
of the field and the professional
practice of the specialisation ‘Docu-
mentary’ or ‘Fiction’. This means
that the programme is both broad-
ened and deepened. At the end of
the academic year, the student’s
professional competence must be fully
applied to the creative process.
This refers to both a command of the
profession itself and the student’s
professional attitude. The execution
of assignments is therefore assessed
according to the field’s require-
ments.
Competences
The competences for the second
year are:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information.
/ The student can undertake
methodical and well-organised
research and develop his own
idea.
/ The student can evaluate his
own images and those of others
on their content and visual and
communicative qualities, and is
able to justify the choices he
makes in his photography.
/ The student knows to use
research to acquire new
knowledge, skills and insights,
and can appropriate external
criticism to benefit the
development of his work.
/ The student is able to
prioritise and time-effectively
manage his work process.
/ The student can interpret an
assignment and express it in
word and image.
/ The student refers to social and
cultural resources to formulate
a precise hypothesis for his
work, and he can name the
target audience and aim of his
photography.
/ The student is able to
collaborate with others and
can apply his talents and
those of others to benefit the
collaboration.
Artistic technical domain
In the second year, the focal point
of general visual development shifts
to the replication and interpretation
of methods. Students gain insight
into the coherence of content and
form by learning to control the crea-
tive process.
Concept development is examined in
different courses to create under-
standing of the working methods.
This includes analysing assignments,
substantive research, idea develop-
ment, image development and imple-
mentation. It also allows students
to broaden their work area with the
electives Audio Visual Media and
Interactive Media, which support the
research into the possibilities of
the artistic process.
Theoretical domain
Art and photography history and
reflection are taught throughout the
p.59
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
year, and students are encouraged
to, in addition to the fixed course
content, independently extend the
framework by engaging in research
related to the practice course and/or
projects. The building of a personal
file is indispensable in this
research process. The student is also
asked to substantiate his opinions.
In the courses Film Theory and
Philosophy of Media, which are chosen
in conjunction with the electives
Audio Visual Media and Interac-
tive Media, the frame of reference
is widened and compared to that of
photography. The student is assessed
in debates, at the hand of an exam
and a paper.
Professional social domain
The demands of the functioning in,
and influencing of, the profession(al
field), are the points of departure
for assignments in the curriculum and
are the guidelines for the assess-
ment. The method of working that is
used in the field sets the criteria.
Additionally, the practice courses
of the specialisations are supported
by the subjects Communication and
Sociology, which focus on the start
of the assignment, objectives, target
audience and its consequences.
Main Phase / year 3
(Professionalisation and presentation)
Full-time / part-time: semester five and six
The entire year is dedicated to
career preparation. The student must
now demonstrate he meets the require-
ments to make a unique contribution
to the field and that he can live up
to standards of the outside world.
The objectives of this study year
are to exhibit own work and function
in the professional field outside
the academy. Over the course of the
year, the internship is successfully
completed; the written professional
profile is assessed and adjusted
after the internship. The written
report, with conclusions about the
internship period, is the impetus for
the final year, in which the student
is supposed to bring this final phase
to a successful conclusion. At the
end of the third year the individual
and collective assessment reviews are
merged into one comprehensive assess-
ment.
Competences
The competences for the third year
are:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information.
/ The student is able to formulate
an idea, identify his goals and
employ research to develop an
image concept and make it into a
work.
/ The student can relate his work
to developments in the field in
a cultural and social context
and define his position.
/ The student develops an
authentic vision on photography
and is able to keep developing
this further.
/ The student can create a
balance between journalistic
/ commercial, logistic,
facilitating and technical
activities.
/ The student is able to
convincingly present and explain
his own work (methods) and
remains true to his goal and
target audience.
/ The student is able to connect
his own work to that of others,
and his own work to the public;
the student can adequately
address his target groups with
his work.
/ The student can purposely place
himself in the work process
in different roles and with
different responsibilities, and
employ his individual talents to
achieve common goals.
p.60
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Artistic technical domain
The student explores the medium and
determines his own position. The
attention is centred on students’
individual projects or on the distin-
guishing features of the execution of
assignments. Authorship is evident in
the breadth of the work and port-
folio. The student demonstrates his
ability to use the contexts and
settings in which the creative work
can manifest itself, such as in
exhibitions, in printed media such
as magazines and/ or books, interac-
tively and on the web. Concept devel-
opment is specifically aimed at the
outside world. Whether he is working
on a job assignment or on an indi-
vidual project, the student should
demonstrate awareness of the outside
world and should know how to take
advantage of this.
Theoretical domain
In the course of the year, the
student’s theoretical knowl-
edge expands further. The art and
photography history and reflection
are specifically applied to further
develop the critical reviewing of the
medium in relation to the student’s
individual position in the field. The
visual art and cultural world keep
playing an important role in this,
and the subjects communication and
sociology support the determination
of the position. The theoretical
component of AV and Interactive Media
is used to extend and expand the
boundaries of the photography medium.
Students are assessed at the hand
of debates, oral presentations and a
written paper.
Professional social domain
During the entire year, the profes-
sional social domain guides the
curriculum. The outside world is
brought into the academy by giving
students assignments based on profes-
sional assignments. Students present
work in a professional setting and
are assessed accordingly. The assem-
bling of a portfolio is of great
importance in preparation of the
p.61
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
internship. The internship is, after
all, the opportunity for students
to experience working in a profes-
sional environment. Additionally, the
completed assignments and projects
are assessed on the basis of project
proposals and plans, budgets, funding
and the meeting of deadlines.
Main Phase + final phase
(Profiling and positioning)
Full-time / part-time: semesters seven and eight
In the final phase, the student
proves his abilities by applying
his professional skills to position
himself in the field. By doing so he
demonstrates his views on the photo-
graphic visual language, that he is
able to give an artistic interpre-
tation of the work, and that he can
manifest himself in such a way that
he does not only acquire a starting
position in his chosen field, but
also manages to influence it. The
exam work is professionally presented
including descriptions, budget and
funding. He also creates support for
the exam work outside the academy by
getting at least one part of the work
published or by finding a commis-
sioning party or sponsors for the
project. Students work on the exam
work during the entire year.
The competences of the final phase
correspond to the final qualifica-
tions of the programme.
These competences are under construc-
tion, please refer to the website for
the most up-to-date information
Creative ability
The student:
/ can create an innovative concept
and develop it into a unique
and significant image, product,
means of communication or
spatial design, and place it in
a context in an innovative way;
/ forms his points of departure
from a personal artistic vision
and places it in a broader
cultural and social perspective;
/ uses artistic and technical
problems to develop
comprehensive solutions and
demonstrates that he makes use
of his knowledge of, and insight
in, the way images, shapes,
materials, proportions and
colours evoke experiences and
transfer meanings. He also finds
relevant resources to photograph
in an effective manner;
/ employs a method that, on
several occasions, questions the
concept (and/or process) and
uses his findings to come to a
better design;
/ shows in the work that he
transfers meanings and can cause
experiences.
Capacity for critical reflection
The student:
/ is able to analyse, interpret
and assess his own work and that
of others, and can apply the
ensuing outcomes to benefit his
own work;
/ evaluates the result on
the basis of communicative
effectiveness and artistic
value, oversees the implications
of choices and decisions and can
justify these;
/ demonstrates awareness of
different views that exist in
the field;
/ shows the ability to investigate
all matters that are important
for a design;
/ extends his knowledge of
traditions and theories related
to the discipline, of different
visions on, and approaches
to, the chosen profession,
from both historical and
contemporary philosophical
insights (especially ethics
p.62
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
and aesthetics) that may be of
importance to a photographer.
Capacity for growth and innovation
The student:
/ continuously develops his
work and method in both depth
and intensity, in a way that
suits him and relates to his
discipline;
/ shows he wants to further
develop his personal artistic
vision;
/ demonstrates the ambition to
excel;
/ shows a critical and inquiring
attitude regarding his work.
He is able to further develop
this into a body of work and an
individual position;
/ is able to acquire new
knowledge, insights and
skills concerning techniques,
legislation, processing and
application possibilities,
and public and professional
approaches;
/ uses criticism of others to
further develop.
Organisational competence
The student:
/ can create and maintain his own
inspiring and functional work
environment;
/ develops his own work process
and is able to see how various
aspects of the medium in the
discipline are interconnected;
/ makes business arrangements to
be able to eventually work as an
(independent) photographer;
/ is able to manage the work
process and can find a balance
between substantive research,
photography, logistics,
facilitating and public
activities;
/ knows how to locate possible
expertise of colleagues
or specialists from other
disciplines and collaborate with
them;
/ knows how to document and
archive his work.
Communicative competence
The student:
/ can present and explain his
artistic vision and work, and
negotiate about it with clients
and others involved;
/ is able to obtain and interpret
job assignments;
/ shows the ambition to publish
and exhibit his work and
proclaim is own opinions;
/ has an overview of the market
and the mass media;
/ is able to find a support for
his work;
/ communicates verbally, visually
and in writing about his work;
/ makes and maintains contacts
that are relevant to its own
network.
External awareness
The student:
/ has a vision on the role and
position of his discipline and
is able to relate his work and
convictions to those of others
and to developments in the
cultural and social contexts;
/ focuses in his work on the user
and acquires knowledge necessary
to adequately adapt to these
(user) groups;
/ is able research all aspects
relevant to the work;
/ studies the work and visions of
his peers, also internationally;
/ places his own work in the
perspective of traditions and
theories related to the field;
/ recognises a wide range of views
p.63
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
in relation to the profession
of photographer, both from a
historical and contemporary
perspective;
/ is inspired by a range of
cultural and social sources and
can recognise and name these in
his own work;
/ reflects on the function of the
discipline in society.
Collaborative competence
The student:
/ is able to guide collaborative
efforts and provide content and
quality;
/ is able to achieve his goals
while working with others;
/ is able to utilise his
talents and abilities in a
collaboration;
/ can effectively and respectfully
employ different roles,
responsibilities and interests
in the process of photographing.
Artistic technical domain
Now that the professional field
has been extensively explored, the
student uses the last phase to hone
down and make explicit his own
visual signature. Specialisation
and profiling within the medium are
the starting points. The student
consciously strives to find the
boundaries of the discipline and
move beyond them if possible. This
applies in particular to the way of
presenting the work. The experience
of the work plays an important role
in the development of the communica-
tion concepts.
Theoretical domain
The thesis is the culmination of the
research for the practical work. In
the thesis, students establish their
work and their position as maker in
the broader context of the disci-
pline. The student demonstrates he
can engage both the historical and
current situation of the medium in
this, as well as the situation of
culture in general. The determination
of standpoints is crucial to this.
Professional social domain
The activities of the exam are placed
in the context of the professional
practice and further developed. This
means that special attention is given
to all matters related to the entre-
preneurship of the photographer. One
part of the exam includes a project
in which the student demonstrates he
can place the work in the context of
the discipline. In addition to the
exam work, students are expected to
write a business plan and to generate
publicity for their exam work.
The content of the final stage of
the part-time programme corresponds
to that of the full-time programme.
The projects are adapted to fit into
three semesters. The objectives asso-
ciated with the final phase of the
programme are the same as the final
qualifications and the associated
competences.
p.64
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
2.4.5 Department organisation
The head of department is respon-
sible for the department’s policy and
all aspects related to this policy.
The team of lecturers reflects the
content of the programme and its
professional set-up.
With the exception of some, all
teachers have a professional practice
and work either independently or in
a team. Because of the diversity in
experience and expertise, the student
is confronted with numerous aspects
and approaches of the discipline.
Specific knowledge of the profes-
sional field is offered by means of
guest lectures.
Heads of Photography department
Corinne Noordenbos
[email protected]
Head of part-time programmes
Ernst Bergmans
[email protected]  
Coordinator Documentary and Fiction
Lotte Sprengers
[email protected]
Coordinator part-time
Leo Erken
[email protected]
Internship Coordinator
Lotte Sprengers
Lecturers
Anna Abrahams
Vincent van Baar
Ellen Dosse
Theo van Dusseldorp
Leo Erken
Jan Frederik Groot
Johan Gustavsson
Sebastiaan Hanekroot
Tom van Heel
Judith van IJken
Anja de Jong
Ton van Kints
Ben Krehwinkel
Ola Lanko
Deen van Meer
Hans van der Meer
Krista van der Niet
Corinne Noordenbos
Louise te Poele
Pawel Pokutycki
Carla van de Puttelaar
Marga Rotteveel
Lotte Sprengers
Ewoud Traast
Edel Verzijl
Loek van Vliet
Rob Wetzer
Raimond Wouda
Lecturers theory / art history
Elke van Eeden
Ingrid Grootes
Bert Rorije
Martijn Verhoeven
Ellie Smollenaars
Guest lecturers
Kim Knoppers,
extern deskundige 2012-2013
Ruud Visschedijk ,
extern deskundige
2010-2011, 2011-2012, 2013
Gerrit Scheurs,
extern deskundige
2008-2009, 2009-2010
Wim van Sinderen,
extern deskundige
januari 2008-2009, 2009-2010
Bart Sorgedrager,
extern deskundige
2008-2009, 2009-2010
Harvey Benge
Lars Boering
Koos Breukel
Sarah Carlier
Anton Corbijn
Ad van Denderen
Hans Eijkelboom
Miklos Gaal
David Goldblatt
Brian Griffin
Vincent van Gurp
p.65
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.4.6 Total overview of qualifications

QUALIFICATIONS PROPAEDEUTIC YEAR MAIN PHASE, YEAR 2
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
p.66
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
QUALIFICATIONS MAIN PHASE, YEAR 3 MAIN PHASE, YEAR 4
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to develop an inno-
vative concept arising from your
artistic ambition and research,
elaborate it into a distinctive
image, product, means of commu-
nication or spatial design, and to
contextualize it in a meaningful
way.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to consider, analyse,
interpret and assess your own and
others' work, and are capable of
constructively considering your
findings in relation to your own
work.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to further develop
your vision, work and working
methods in breadth and depth
through an ongoing process
of research, and in this way
contribute to your discipline and
to society.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to establish and
maintain an inspirational and
functional working environment and
to organize your research, work and
practice.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to effectively present
your vision, research and work and
engage in a dialogue with clients
and other interested parties.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to relate your
artistic practice to the artistic
and social context.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to make an independent
contribution to a collaborative
product or process.
p.67
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e

1st year: Due to the changed Research & Discourse programme minor adjustments of the EC is an possibility.
PHOTOGRAPHY FULL-TIME DOCUMENTARY
Year 1 2 3 4
Semester 1 2 3 4 5 6 7 8
Photojournalism 4 4
Photography fashion/lifestyle 4
Photography documentary 4 4
Photography commercial 4
Photography tecnical skills 4 3 2 4
Photography documentary 1 4
Photography documentary 2 4
Photography fine art 3
Image Development
(presentation in the 3rd year)
4 2 2 1 2
Digital skills 3 3
Graphic design 2 1 2 2
Academy-wide propaedeutic year
project week
1
Audiovisual/film theory or Interactive
media design /media theory
2 2 2
Final Year project(s) 1 (assignment) 10
Final Year project(s) 2 (personal
profiling on two platforms)
5 18
Art/Photography History and
Reflection
2 2 3 3 3
Research and Discourse 3 3
Sociology 2 2 1
Film Theory or Media Theory 2 2
Thesis 6 3
Career orientation 3 3
Programmed career preparation 2 2 2 3 1 3
Integrated career preparation ( BV) 1 1 1 1 3 3
Internship preparation,
internship and report
2 24
IST & Projects 6 6 6 6 6 6
Total 30 30 30 30 30 30 30 30
EC after individual assessment 24 24 24 24 24 24 24 24
EC after collective assessment 6 6 6 6 6 6 6 6
2.4.7 Study points overview
p.68
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
PHOTOGRAPHY FULL-TIME DOCUMENTARY
Year 1 2 3 4
Semester 1 2 3 4 5 6 7 8
Photojournalism 4 4
Photography fashion/lifestyle 4
Photography documentary 4 4
Photography commercial 4
Photography tecnical skills 4 3 2 4
Photography documentary 1 4
Photography documentary 2 4
Photography fine art 3
Image Development
(presentation in the 3rd year)
4 2 2 1 2
Digital skills 3 3
Graphic design 2 1 2 2
Academy-wide propaedeutic year
project week
1
Audiovisual/film theory or Interactive
media design/media theory
2 2 2
Final Year project(s) 1 (assignment) 10
Final Year project(s) 2 (personal
profiling on two platforms)
5 18
Art/Photography History and
Reflection
2 2 3 3 3
Research and Discourse 3 3
Sociology 2 2 1
Film Theory or Media Theory 2 2
Thesis 6 3
Career orientation 3 3
Programmed career preparation 2 2 2 3 1 3
Integrated career preparation ( BV) 1 1 1 1 3 3
Internship preparation,
internship and report
2 24
IST & Projects 6 6 6 6 6 6
Total 30 30 30 30 30 30 30 30
EC after individual assessment 24 24 24 24 24 24 24 24
EC after collective assessment 6 6 6 6 6 6 6 6
p.69
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
PHOTOGRAPHY PART-TIME
Year 1 2 3 4
Semester 1 2 3 4 5 6 7 8
Photography technical Skills 5 3 6
Digital Skills 3 3
Photography Fine Art 8
Photojournalism 8 4
Photography documentary 8 4
Interactive media design/media
theory
4
Audiovisual/film theory 4
Image Developement
(Presentation in the 3rd year)
6 2 2
Graphic Design 3 2
Final Year project(s) 1 (assignment) 10
Final Year project 2 personal
profiling on 2 podia)
6 4 16
Art /Photography History and
Reflection
2 3 3 3 3
Research and Discourse 3
Sociology 2 2 2
Film Theory or Media Theory 2 2 1
Thesis 3 3 3
Career orientation
(also through self-study)
3 3 3 3 3 3
Programmed career preparation
(trip)
2
Integrated career preparation ( BV) 2 2 2 2 1
Internship proposal,
internship and report
1 1 1 1 2 2 4 4
EVC
( Elswhere Acquired Competences)
5 5 0 0 0 4 3 1
IST 3 2 6 6 6 6
Totaal 30 30 30 30 30 30 30 30
EC after individual assesment 24 24 24 24 24 24 24 24
EC after collective assesment 6 6 6 6 6 6 6 6
p.70
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
2.5 Graphic Design
2.5.1 General description of the discipline
Graphic designers are researchers.
They look critically at their profes-
sion and the world, and reflect on
change. They continuously ask ques-
tions, and by doing so they discover
where information is hidden, what
form to present it in, and how it can
be made accessible. The profession of
graphic designer is related to the
visual arts, science, journalism and
other creative disciplines.
Graphic designers work on commission
and also initiate their own projects.
They work with existing information
and also create it themselves. In the
latter case they are no longer simply
designers, but assume the role of
initiator, editor, project manager
and publisher as well. There is a
strong emphasis on the research and
development of concepts that form the
basis of information transfer.
Designing is a combination of
inventing and imagining. For example,
the design of a website is not just
the website in itself, but is,
instead, a unification of images and
descriptions of what the website
looks like and how it works. Because
of the increasing availability of
technological means of production,
for example user-friendly software
and affordable high quality printers,
designers are able to control the
production process. As a result, the
gap between design and product dimin-
ishes.
There are infinite ways to design
graphically. A graphic designer can
draw with pencil or with a design
programme, he can rip and paste
paper, create patterns in sand with
his fingers, arrange led letters,
copy objects on a copier, organise
stacks of photographs, and so on.
The products that result from these
processes are equally diverse.
Graphic designers design websites,
apps, browsers, book covers, books,
magazines, experiences, forms,
flyers, newspapers, interactions,
campaigns, letters, signs, agendas,
games, logos, flags, boxes, money,
and so much more. When the image
by itself is not sufficient, they
work with sound, texture, and even
with smell and taste. Some graphic
designers like to break through the
boundaries of their discipline, by,
for example, working in the fields
of visual arts or theatre. Others
have expanded their area of work to
include film, and it is interesting
to observe that the background of
graphic design is visible in the
films these designers create: their
vocabulary, imagery and signature
transcends the medium in which they
work.
So what exactly is the discipline of
graphic design? To keep it simple,
we say that graphic design is the
development of, and giving form to,
communication concepts by arranging,
adapting and visualising the avail-
able information. This happens in so
many different media and according
to an equal multitude of different
approaches, that the discipline is
often described as heterogeneous.
The connotation with printed matter,
which can literally be found in the
name of the discipline, is a relic
from the pre-digital era: the label
no longer fully represents the
content. This is why some refer to
the discipline as ‘visual communi-
cation’ or ‘visual design’. Graphic
designers practice their profession
in numerous ways. Some work alone,
while others work for small studios
and bureaus. Some of these initi-
atives have been set up as a coop-
erative effort or as collaborative
ventures of independent designers,
and others as small businesses with
staff and a designer as director.
On the other end of the spectrum are
the large firms with large numbers
of employees. These firms mostly
focus on strategic communication
p.73
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
and the development of identities
and campaigns. Where individuals and
small bureaus are often special-
ised, these large firms cover almost
the entire field. Additionally,
many companies, such as marketing
firms, media corporations and multi-
nationals, have an in-house graphic
designer. The commissioning parties
vary just as greatly, from indi-
viduals to multinationals, from
cultural institutions to ministries,
from shop-owners to media giants.
The discipline of graphic design
includes, to sum up, everything
that happens in graphic design and
everyone who plays a part in it.
Current situation of the discipline
What happens in the discipline? If
we take a look from a distance, it
becomes apparent that many of the
current developments in graphic
design are connected to three compre-
hensive themes: information, tech-
nology and the globalisation of
society.
It is impossible to escape from
information in our contemporary
information society. Over the last
few decades, the amount of infor-
mation and the speed with which it
is disseminated has increased enor-
mously. This has huge consequences
for graphic designers. The abundance
of information is often not recog-
nised as a problem, and designers
are increasingly given the respon-
sibility of finding solutions to
communication problems. Designers
are all of a sudden expected to work
on this extra task, in addition to
finishing the actual design. Contrary
to the promises of the contempo-
rary template culture, the need to
structure information has clearly
become more and more important. It is
becoming increasingly difficult to
stand out in the overwhelming flow of
images and texts. This is perhaps why
graphic designers have become concept
developers, and have taken charge
of communication processes. In the
commercial field, there is a desire
for bigger and crazier designs, as
long as they get the message across
in a clear manner. At the same time,
it is expected that users have a
pleasurable experience when coming
in contact with a design. It is a
complex task. Independent spirits
refrain from responding to trends and
hypes, and attempt to create visual
silence in the whirlwind of screaming
images. Some try to approach the
tradition in its purest form, while
others experiment with unconventional
alternatives.
If one conclusion can be drawn from
this, it is that graphic designers
cannot avoid reflecting on their
role in the contemporary information
society. One of the main questions
they ask themselves is a moral one:
do I contribute to this dissemination
of information, or are there limits
to what I send out into the world?
Graphic design is founded on tech-
nique and technology. The message is
inextricably linked to the medium,
and this is reflected in the history
of graphic design. For a long time,
the profession was connected to
the art of printing, which slowly
but surely reinvented itself over
time. The digital revolution led the
profession into the fast-paced world
of bits and chips. It is difficult to
imagine that 25 years ago, designers
did not use computers, and that
there were hardly any designers who
designed for the computer. Paper will
not disappear completely, but even-
tually almost all information will
reach us through digital systems.
Consequently, graphic designers have
to be knowledgeable about technolog-
ical possibilities, and preferably
are able to work with the technology.
Additionally, they have to understand
how technology transforms relations
and practices. Technology enables
interaction, and thus encourages
substantive input from the public.
These new developments provoke
exciting reactions. Young designers
seek out hidden treasures of the
p.74
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
analogue era and tackle the chal-
lenges of the digital age. They
research the concept of manual
labour in contemporary society,
and how automated processes influ-
ence design results. They give new
life to vintage design traditions
and invent new applications for
existing technologies. This distin-
guishes them from designers who
solely employ the possibilities of
design programmes, and from those
that only work with pencil. They
also distinguish themselves from the
capable amateur with their concep-
tual abilities and knowledge of the
field. In addition to the capable
amateur there is also the incapable
one, who, for some designers, is a
true source of inspiration. This
amateur represents open-mindedness,
authentic style and uncontrived
simplicity in presentation.
What becomes clear, in short, is that
the digital revolution leads the
graphic designer in different direc-
tions. In all these directions he
can set the tone. Technologically,
he does so by constantly being aware
of the latest developments and by
participating in the development of
applications. Conceptually, he can
achieve this by doing research and
by delving into his subjects and the
development of the profession in its
current social context. Formally,
he has to either experiment with the
non-existent or become highly skilled
in traditional techniques.
Social ideals were once a driving
force behind the emergence of graphic
design. Designers desired better
living conditions for all. Espe-
cially in the period between the two
world wars this social commitment was
strong. The KABK was at that time a
bastion of progressive modernists.
Today’s designers resemble their
colleagues from the past. They are
fully engaged with the world. The
conditions are different, however.
Where the socialists in the 1930’s
advocated the international, inter-
nationalisation is already very much
underway these days and is no longer
the concern of pioneering designers.
In our global society everyone is
in touch with everyone. For graphic
designers this has far-reaching
consequences. A design does not just
stay in the Netherlands, but travels
into the world, especially when
it comes to Internet applications.
Designers must know the codes of
the new international visual culture
that has emerged. Simultaneously we
want them to use their own codes. We
are also more aware of the situa-
tion in other countries and of back
room politics. Maybe because graphic
designers are so involved with infor-
mation, they have a strong sense of
responsibility for the world. This
can take many forms. For example,
there are designers who distance
themselves from the deceptive rhet-
oric of the commercial field. In
media circles there are advocates for
a humane information society in which
people are not crushed by a torrent
of superficial images. Slightly more
practical are the designers who are
committed to social projects. Agen-
cies sometimes offer affordable
services for charitable campaigns,
or dedicate means to their immediate
environment. Graphic design is a
committed discipline.
2.5.2 Study Profile
Professional Objectives
Graphic designers are increasingly
working on the boundaries of the
discipline. Therefore, the depart-
ment strives for a broad definition
of the discipline and encourages
students to explore these bound-
aries, and when necessary, cross
them.
In general, the design process can
be divided into four major phases:
collecting, examining, visualising
and publishing information. This
methodology enables the designer to
p.75
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
appropriate the following attitudes
and skills:
/ develop concepts for the
transfer and exchange of
information and shape them with
the use of image, typography and
other means;
/ examine, organise, edit,
visualize and manage
information;
/ work from a personal, thoughtful
vision of the discipline, from
fascinations and from the social
context;
/ work on commission and/or
initiate projects;
/ make statements about the
profession and the world through
the work;
/ trigger new developments in the
discipline or advance existing
developments;
/ not only meet the needs of the
user and/or the client with the
work, but also, and above all,
further deepen and develop the
personal vision and work.
Description of the study programme
The Graphic Design department
educates students to become versatile
designers in the field of communica-
tion. The ideal graduate is an inves-
tigative designer who is fully aware
of current affairs, who, depending
on the concept and the situation,
chooses his medium wisely, and who
is familiar with both traditional and
new social media. The graduates stand
out because of their conceptual and
visual abilities, knowledge of the
profession and the world, technolog-
ical curiosity and highly developed
social commitment.
The department offers an extensive
curriculum. The programme is founded
on four pillars: design, interaction,
image and typography. The attention
to the study of letters distinguishes
the programme from other graphic
design studies. The study of letters
takes place in the first year, in
combination with typography. In the
second year, students can choose the
elective Letter Studio to continue
the research. The electives Playlab
and Design Office are equally unique,
where the first course is fully dedi-
cated to avant-garde research and
the second to practical assignments
for external clients. Each year,
the department uses the programme’s
strong content and the composition of
the teaching staff to achieve actu-
ality, versatility, depth in theory
and practice, and interaction between
text and image.
The programme offers students the
freedom to develop their personal
qualities. Students work from their
own preferences towards a general or
specialised graduate profile. The
social orientation of the programme
is reflected in assignments,
projects and theory classes. Addi-
tionally, a pioneering and ques-
tioning attitude prevails in rela-
tion to the discipline. With foreign
students, foreign guest lecturers,
field trips and collaborations with
academies abroad, the programme is
remarkably international.
The department is well known inter-
nationally, both in the field and
beyond. Its graduates include many
influential designers. Some have a
strong social profile, and others
have made unique achievements in the
field of typography and type design.
As described above, we consider the
notions of image and interaction to
be important points of interest in
contemporary design, and they are
therefore given a prominent place in
the programme.
Final qualifications Graphic Design
The final qualifications have been
summarised in seven competences. The
KABK has established these compe-
tences on the basis of the national
final qualifications for Graphic
Design programmes.
p.76
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
/ You are able to develop an
innovative concept arising
from your artistic ambition
and research, elaborate it
into a distinctive image,
product, means of communication
or spatial design, and to
contextualize it in a meaningful
way (creative ability)
/ You are able to consider,
analyse, interpret and assess
your own and others’ work, and
are capable of constructively
considering your findings
in relation to your own
work (capacity for critical
reflection)
/ You are able to further develop
your vision, work and working
methods in breadth and depth
through an ongoing process
of research, and in this way
contribute to your discipline
and to society (capacity for
growth and innovation)
/ You are able to establish
and maintain an inspirational
and functional working
environment and to organize your
research, work and practice
(organizational ability)
/ You are able to effectively
present your vision, research
and work and engage in a
dialogue with clients and
other interested parties
(communicative ability)
/ You are able to relate your
artistic practice to the
artistic and social context
(external awareness)
/ You are able to make an
independent contribution to a
collaborative product or process
(capacity for collaboration)
Diploma
Graduates are awarded a Bachelor of
Design (BDes) and are then eligible
to enter post-graduate programmes in
the Netherlands or abroad.
Post-graduate studies
After receiving their Bachelor’s
degree, graduates can enrol in a
master’s programme in design (M
Design) or art (M Fine Arts) or
another master’s programme at an
art academy. In addition to our own
Master Type and Media graduates have
gone to pursue master’s degrees
at, among others: Royal College in
London, Yale School of Art in New
Haven, Typography Workshop ArtEZ,
Sandberg Institute and the University
of Leiden.
Admission Procedure
The candidate applies online. He
fills out a questionnaire and
receives three assignments to prepare
at home. The candidate will then be
invited for the entrance examination.
The admission committee consists of
both teachers and students. The head
of the department is present during
the admission. The admission takes
place in Dutch or - with foreign
candidates - in English.
The candidate is expected to bring
his portfolio, which consists of
a diverse selection of his work.
Basically everything that gives an
impression of the way of working
should be included in the portfolio,
such as sketches, blueprints and
notes of ideas. The candidate also
presents the aforementioned assign-
ments during the examination. An
additional assignment is given on the
selection day, and a personal discus-
sion with the admission committee
takes place as well. The Committee
formulates an opinion to the Board of
Directors on the basis of all these
elements, after which the candidate
will receive a written answer as to
whether he has been accepted or not.
Specific admission requirements
During the selection day, the candi-
date’s eligibility for the programme
will be tested according to various
methods.
p.77
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
The take home assignment, which
changes annually, provides informa-
tion about:
/ providing creative solutions;
/ being research orientated;
/ being sensitive to material;
/ being sensitive to one’s
surroundings;
/ curiosity;
/ enthusiasm;
/ ability to combine text and
visuals.
The drawing assignment(observational
sketches) provides information about:
/ powers of observation;
/ drawing skills;
/ use of surface/composition;
/ personal approach;
/ personal signature.
The design assignment provides infor-
mation about:
/ flexibility in dealing with an
assignment;
/ employing different media;
/ combining text and visual
information;
/ frame of reference;
/ (basic) insight into the
profession;
/ personal approach.
The day assignment provides informa-
tion about:
/ speed in originality;
/ improvisational skills;
/ switching between different
starting points;
/ translating content to image or
typography;
/ imaginative processes;
/ abstract thinking.
2.5.3 Study programme overview
full-time / part-time
The graphic design programme is
offered as both full-time and part-
time education. The set-up of both
programmes is similar in content.
Both programmes have a curriculum
that focuses on three domains of
knowledge and ability: an artistic
domain, a theoretical domain and a
professional-social domain. Some-
times the domains are directly
recognizable in the courses, such as
theory and professional preparation.
Other courses focus on more than
one domain. For example, design and
typography both have an artistic and
a theoretical dimension, which are
inextricably linked together.
Artistic technical domain
The pillars of the programme are four
design disciplines: design, inter-
action, image and typography. All
courses have a conceptual nature.
Design centres on the examining,
organising, editing and visual-
ising of information and controlling
processes of information transfer.
In Interaction, as the name implies,
interactive processes are designed
for new media and other contexts.
Image focuses on the creation,
editing, deploying and organ-
ising of images and the creation
of concepts in which image plays
a role. In Typography, the visual
form of texts is centralised, inde-
pendently and in relation to image;
there is a focus on the development
of concepts, typographical notions
and ideas, techniques and materials.
In the first year, Typography coin-
cides with Letters, where an initial
understanding of letters and letter
designs is obtained. The Coding
course functions as the foundation
to all courses. In Coding, students
gain basic knowledge in programming
and technical competences. They are
introduced to the properties of algo-
rithms, functions and loops and the
possibilities to apply them in the
design process.
p.78
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
From the second year onwards, the
notion of ‘courses’ is gradually
released, and instead supervision in
different specialisations becomes
more important in completing assign-
ments. From that moment on there is a
strong relation with the professional
social domain. In the second and
third year, students choose between
two electives at the beginning of
each year. In the Letter Studio
letters are researched in relation
to typography. Playlab searches for
the boundaries of the discipline with
an experimental research programme.
The Design Office has been created as
a studio in which students work in
teams on special assignments for real
clients, often in the cultural field.
Theoretical domain
The department’s theoretical
programme establishes an exchange
between the acquisition of knowl-
edge and understanding of current
graphic design in its artistic,
historical and social context, and
the work of the student. The first
year focuses on contemporary graphic
design in relation to the visual
arts, other design disciplines and
visual culture. The second year is
devoted to theory in the history of
design. In the third year philos-
ophy is centralised, with atten-
tion for the relationship between
graphic design and social issues. In
the fourth year the theory teacher
guides the students in the writing
of the thesis, which linked to the
graduation project. An important
goal of the theory programme is to
teach students to position them-
selves in relation to the work of
others, to form opinions and to admit
when personal feelings and taste are
involved.
Also part of the domain are the
Reading Groups, which are small
groups set up each semester and led
by a teacher to intellectually engage
students with challenging texts.
In addition to the theoretical
programme offered by the department,
students take academy-wide courses in
art theory and academic skills, and
they can participate in the academy’s
Studium Generale. It is also possible
for students to follow courses in
other departments or at Leiden
University, in the framework of the
Individual Study Trajectory (IST).
Professional social domain
What is the social significance of
graphic design? What position do
you aspire as a graphic designer
in society? What do you need to do
to achieve it? These questions are
discussed throughout the programme.
The aim is to prepare students for
their future professions. During the
propaedeutic year this happens in
a playful and explorative way. In
the subsequent years, assignments
mimic realistic situations. There is
contact with the professional field,
the public and clients. Some projects
take place outside the academy, while
others are derived from professional
practice. In addition, all students
are required to do an internship. In
the fourth year the focus is very
explicitly placed on the students’
future professional practice, with
a Career Orientation course, assis-
tance in compiling a portfolio and
the graduation projects. During
these activities the consequences
of the students’ choices are exam-
ined. For example, students have to
ask themselves the question what kind
of designer they would want to be,
if they want to work for a firm or
independently, and what suits them
best. Possibilities for post-graduate
education are also discussed. In the
final year, students are expected to
present themselves during evaluations
as a designer and explain their posi-
tion in the field.
p.79
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Full-time programme
Propaedeutic year
The first year is an adventurous
exploration of the student’s qual-
ities in various aspects of graphic
design. The qualities are explored
with challenging assignments that
appeal to the student’s curiosity and
creativity. Small and larger assign-
ments alternate and take the students
to the far corners of their field.
Much emphasis is placed on open-mind-
edness, the joy of working and only
evaluating afterwards. Students try
out different ways of working and get
a first glimpse into their visual
ability and the value of their ideas.
This way, the students gradually move
towards the development of their own
visual language and vision. In the
first year it is important to create
a large body of work that provides
confidence and creates resil-
ience useful during the rest of the
programme.
Throughout the year, students
complete assignments for which they
must make use of the workshops.
In the theoretical programme the
emphasis is on familiarising students
with contemporary graphic design,
with attention to a large variety of
views and approaches. In the final
assessment, the student has to be
able to answer the question whether
graphic design is suitable for him,
and if he is suitable for the profes-
sion. The student must then be able
to clearly specify the elements
of the profession that primarily
interest him.
Points of departure
/ Introduction to the field, both
practically and theoretically.
/ The creative and intellectual
development of the student is
central.
/ Scheduled courses are offered
parallel to each other. They
focus on certain aspects
of the profession and the
culture, both substantively and
technically, and broaden the
frame of reference. In addition
to scheduled courses, two
project weeks take place in the
propaedeutic year: a department-
wide week for all years, and
an academy-wide course for
all first year groups, plus
an excursion week. Career
preparation projects are offered
in the framework of the lessons.
Study programme components
/ Design
/ Image
/ Typography and Letters
/ Interaction
/ Drawing
/ Theory: Current Visual Culture
/ Academy-wide: Art Theory and
Introduction to Science
Year 2
In the second year, students work
on a series of challenging design
assignments. The emphasis is on
expanding the understanding of the
profession and strengthening the
student’s qualities as a designer.
Ample space is reserved for research.
The assignments address, among other
things, the concepts of public space
and audience groups. There are real-
istic and fictional, optional and
compulsory assignments. In the course
of the year the taught courses are
replaced by supervision by different
teachers in joint assignments. Each
teacher covers another area of exper-
tise: Design, Photography, Typography
or Interaction. Students can discuss
their work with different teachers.
Additionally, they follow Letter-
studio, Playlab or Design Office
and they set up their own Indi-
vidual Study Trajectory. The theory
programme is dedicated to the history
of graphic design in its cultural
and social context and establishes
p.80
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
a relationship with the work of the
students. The students also focus on
the presenting and exhibiting their
work.
Points of departure
/ Expanding the understanding of
the discipline.
/ Strengthening the personal
qualities as a designer.
/ More focus on research.
/ Supervision by teachers with
different specialisations in
joint assignments.
/ Students choose between
Letterstudio, Playlab or Design
Office.
/ The Individual Study Trajectory
serves as a tool to broaden or
deepen the study programme.
/ Career preparation projects,
both in the context of the
lessons and the Individual Study
Trajectory.
/ Organisation of exhibitions and
presentations.
Study programme components
Design Assignments,
with supervision in:
/ Design
/ Image
/ Typography
/ Interaction
/ Theory: History of Design
/ Elective: Letter Studio, Playlab
or Design Office
/ Technique: Coding
/ Individual Study Trajectory
Year 3
The third year also focuses on
complex design assignments. In this
year, the emphasis is placed on the
relationship between graphic designer
and society. This is reflected in the
theory programme, the assignments and
the internship. One of the departure
points of the course is that students
become more and more in charge of
their trajectory as the programme
progresses; in the third year a lot
is expected from them. The students
are largely responsible for organ-
ising their own supervision and have
great freedom in how they approach
the assignments. Consequently they
can decide to, for example, increase
their focus on designing for new
media, to centralise the unification
of text and image, or to approach
assignments typographically. The
emphasis in the curriculum will be on
interdisciplinary collaboration and
multidisciplinary knowledge. By opti-
mally using Playlab, Design Office,
the Letterstudio and the Individual
Study Trajectory, students can
broaden their knowledge, specialise
and acquire additional skills and
techniques. The theory programme in
third year teaches philosophy, and is
dedicated to reflection on current
social themes. Its aim is to make
students develop a vision on their
personal responsibility as a designer
and to support their ideas of
designing according to their social
vision. The internship takes place in
the second semester.
p.81
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Points of departure
/ After the first year’s emphasis
on the discovery of student’s
qualities, and the second
year’s focus on deepening the
understanding of the discipline,
the third year is centred on the
relationship with society.
/ The courses continue to fuse
together; in the second
semester the assignment-teachers
supervise a large assignment
with a socially relevant theme.
/ The students choose
Letterstudio, Playlab or Design
Office.
/ The Individual Study Trajectory
serves as a tool to broaden
or deepen the study, career
preparation projects take
place in the framework of the
Individual Study Trajectory.
Study programme components
Design Assignments, with supervision
in:
/ Design
/ Image
/ Typography
/ Interaction
/ Theory: Philosophy
/ Elective: Letter Studio, Playlab
or Design Office
/ Technique: Coding
/ Individual Study Trajectory
Year 4
This year is entirely focused on
the final examination. The first
semester is exploratory in nature,
with students doing various design
assignments that have both visual
and content-based elements, and
which can be possible precursors for
the central theme of the graduation
project. From the second semester
onwards the final phase commences.
The students are motivated by dead-
lines and they work hard to be able
to present enough work of a suffi-
cient level to pass to the final
phase.
The theoretical part of the final
year is the thesis that functions as
the theoretical preparation for the
graduation project. Additionally,
the students prepare for the final
exam and their future professional
practice, and they are assisted in
constructing a portfolio.
Points of departure
/ In the final year, the focus is
on the position and positioning
of the student as a graphic
designer in his discipline and
society.
/ The entire year is devoted to
the final examination; from the
start of the year the students
work on projects on which they
can graduate.
/ The Individual Study Trajectory
serves as a tool to broaden or
deepen the study.
/ Students who graduate with a
letter-project make use of
supervision from the Letter
Studio.
Study programme components
Graduation projects with supervision
in:
/ Design
/ Image
/ Typography
/ Interaction
/ Theory: Thesis
/ Career Preparation
/ Individual Study Trajectory

Part-time programme
The part-time programme is set-up
very similarly to the full-time
programme. However, the Indi-
vidual Study Trajectory and elec-
tives Letterstudio and Playlab are
not offered (yet). There is also no
p.82
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
compulsory internship. Students are
expected to initiate relationships
with the professional field them-
selves.

2.5.4 Educational and
professional objectives
Propaedeutic year
The assessment in the second
semester, the propaedeutic year
assessment, may lead to a binding
negative study advice. Referral indi-
cates that the student can be advised
to enrol in another study programme
in or outside of the academy.
The student needs to master the
following competences during this
phase of the programme:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information
/ Creative ability: The student is
able to independently apply the
acquired skills and knowledge to
the production of his work.
/ Capacity for critical
reflection: The student is able
to reflect on his work and
can evaluate its quality and
effectiveness.
/ Capacity for growth and
innovation: The student acquires
new knowledge, skills and
insights and is able to apply
them on a theoretical and
practical level.
/ Organisational competence: The
student is able to develop his
own work process and is capable
of documenting and archiving his
work.
/ Communicative competence: The
student is able to support his
choice of sources, materials
and/or design solutions.
/ Situational awareness: The
student has a wide interest in
social and cultural developments
and is able to recognise
different visions of designing.
/ Collaborative competence: The
student is able to realise his
goals in consultation with
others.
The propaedeutic year competences
are reached with the help of the
previously described study programme
elements. Because of a revision of
the programme, the courses are being
re-written at the time of assembling
this Study Guide. As soon as the
descriptions are available they will
be published on the KABK website.
This also applies to the study
programme elements of the subsequent
years.

Year 2
The students are expected to master
the following competences during the
course of the year:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information.
/ Creative ability: The student
can work on a design problem
methodically and on the basis of
his own ideas.
/ Capacity for critical
reflection: The student is able
to reflect on his own work and
that of others, and can evaluate
its quality and effectiveness.
/ Capacity for growth and
innovation: The student can make
use of newly acquired knowledge,
skills and insights, and the
criticism of others to advance
the development of his work.
/ Organisational competence: The
student is able to manage his
work process, time-effectively
and priority-based.
/ Communicative competence: The
student is able to interpret an
p.83
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
assignment and can debrief in
word and image.

/ Situational awareness: The
student finds inspiration in
social and cultural developments
and is able to name them in his
own work. He can also name the
target groups for his work.
/ Collaborative competence: The
student can work with others and
is able to employ his talents in
collaborative projects.
Year 3
The student is expected to master the
following competences during this
phase of the programme:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information.
/ Creative ability: The student
can formulate a design problem
and employ research to develop a
design solution.
/ Capacity for critical
reflection: The student is
able to relate his work to
developments in the field in a
cultural and social context and
position his work accordingly.
/ Capacity for growth and
innovation: The student is able
to develop a personal vision on
designing from an open-minded
attitude.
/ Organisational competence: The
student is able to find balance
between subjects, facilitating
and production-aimed activities.
/ Communicative competence:The
student can convincingly present
and explain his work and method.
/ Situational awareness: The
student is able to make
connections between his work and
that of others, and between his
work and the public. The student
can adequately adapt his work to
his target groups.
p.84
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
/ Collaborative competence: The
student can purposely place
himself in the design process
in different roles and with
different responsibilities.
This implies that students:
/ Possess the skills, insights and
intellectual capacity to play a
role in the professional field;
/ Can express their personal style
in different joint assignments;
/ Show interest in the various
aspects of professional practice
in the joint assignments and
in the formulation of own
assignments;
/ Gain enough positive experience
during an internship, while
undertaking research or while
participating in a student
exchange programme with a similar
educational institution abroad.
Graduation year
The competences that the student is
expected to master in the final phase
are the same as the final qualifica-
tions of the programme.
2.5.5 Department organisation
The heads of the Graphic Design
department are Roosje Klap and Niels
Schrader. They are responsible for
the department’s policy and for
every aspect that directly relates to
this policy. The team of lecturers
reflects the content of the programme
and its professional set-up.
A large number of teachers have a
professional practice, in which they
work independently or in a team.
Because of the diversity in expe-
rience and expertise, the student
is confronted with numerous aspects
and approaches of the discipline.
Specific knowledge of the profes-
sional field is offered by means of
guest lectures.
Heads of Graphic Design department
Roosje Klap & Niels Schrader
[email protected]
Coordinators Graphic Design Full-time
Pauline Schep
[email protected]
Reba Wesdorp
[email protected]
Head of part-time programmes
Ernst Bergmans
[email protected]
Coordinator Graphic Design Part-time
Koen Geurts
[email protected]
Lecturers Graphic Design (full-time and part-time)
Lauren Alexander
Bart de Baets
Frank Blokland
Erik van Blokland
Pieter Boddaert
Marjan Brandsma
Thomas Buxó
Susana Carvalho
Maarten Cornel
p.85
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.5.6 Total overview of qualifications

QUALIFICATIONS PROPAEDEUTIC YEAR MAIN PHASE, YEAR 2
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
p.86
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
QUALIFICATIONS MAIN PHASE, YEAR 3 MAIN PHASE, YEAR 4
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to develop an inno-
vative concept arising from your
artistic ambition and research,
elaborate it into a distinctive
image, product, means of commu-
nication or spatial design, and to
contextualize it in a meaningful
way.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to consider, analyse,
interpret and assess your own and
others' work, and are capable of
constructively considering your
findings in relation to your own
work.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to further develop
your vision, work and working
methods in breadth and depth
through an ongoing process
of research, and in this way
contribute to your discipline and
to society.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to establish and
maintain an inspirational and
functional working environment and
to organize your research, work and
practice.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to effectively present
your vision, research and work and
engage in a dialogue with clients
and other interested parties.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to relate your
artistic practice to the artistic
and social context.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to make an independent
contribution to a collaborative
product or process.
p.87
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
* The design cluster assignments include aspects of Design, Image, Typography and Letters and Interaction Design

1st year: Due to the changed Research & Discourse programme minor adjustments of the EC is a possibilty.
GRAPHIC DESIGN FULL-TIME
Year 1 2 3 4
Semester 1 2 3 4 5 6 7 8
Design 6 6
Image 6 6
Typography and Letters 6 6
Interaction Design 6 6
Design cluster assignments (*) 14 14 14 7
Letterstudio, Playlab, DO. (choice) 4 4 4 2
Coding 2 2 2 1
Final Exam Projects 18 18
Academy-wide propaedeutic year
project week
1
Internship 12
Career preparation 3
Theory: Contemporary Design
and Art
3 2
Theory: Design History 4 4
Theory: Philosophy 4 2
Theory: Thesis 3 6
Theory: Research and Discourse 3 3
Individual Study Trajectory (IST) 6 6 6 6 6 6
Total 30 30 30 30 30 30 30 30
EC after individual assessment 24 24 24 24 24 24 24 24
EC after collective assessment 6 6 6 6 6 6 6 6
2.5.7 Study points overview
p.88
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
GRAPHIC DESIGN PART-TIME
Year 1 2 3 4
Semester 1 2 3 4 5 6 7 8
Image 5 5 5 5 6 8
Design 1 6 5 5 7 8
Design 2 5 5 5 7 8
Design 3 5 7
Interactive Media 5 5 5 5 6 6
Typography 5 5 7
Letters 5 5 6
Design Orientation 4
Final Exam Projects 24
Art & Design History 5 5 4 4 4 4
Philosophy 2
Thesis 6 6
Total 30 30 34 26 30 30 30 30
EC after individual assessment 24 24 24 24 24 24 24 24
EC after collective assessment 6 6 6 6 6 6 6 6
p.89
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.6 Interior Architecture
and Furniture Design
No matter – try again – fail again – fail better.
[Worstward Ho, Samuel Beckett ,1983]
‘Learning by Doing: Empirical Creative
Education and Training’
The programme Interior Architecture
and Furniture Design at the Royal
Academy of Art covers the full width
of the spatial domain by focusing on
spatial conditions that determine how
we experience our daily living envi-
ronment.
The core aim of the programme is the
personal development of each indi-
vidual student into a creative,
inquisitive and independent designer.
We pay close attention to discovering
the possibilities and potential of
our students, and have designed the
programme in such a way that we have
achieved a precise balance between
the attention given to the concept
and to empiricism: abstract thinking
versus pragmatic and professional
embedding. The curriculum focuses on
experimentation and research. This
enables us to encourage the devel-
opment of an independent inquisi-
tive design attitude that generates
unexpected and surprising results
and perspectives, and that makes the
impossible possible.
Our didactic principle is learning
by doing. The development of skills,
knowledge and competences is linked
to relevant assignments that pref-
erably correspond to professional
design practice. We strongly empha-
sise the students’ personal posi-
tion and the way they approach their
identity from a professional perspec-
tive. We attach great value to the
development of an individual approach
and work process, and encourage the
student to develop an independent
mind-set, a reflective design atti-
tude and empathic ability. In our
view, the designer with the title
Bachelor of Design represents an
all-round designer with an entirely
personal approach. He is a good
observer, and has both strong concep-
tual and empirical skills. He is a
designer who approaches every think-
able – spatial – challenge head on.
After the first year, the programme
offers students the choice between
the specialisations Interior Archi-
tecture (full-time/part-time) and
Furniture Design (full-time only).
The programme duration is four
years. The new Bachelor of Design
corresponds to the educational
vision of the KABK and the National
Final Qualifications for design.
After graduating and receiving the
title Bachelor of Design, the KABK
offers students the opportunity to
continue their studies in the new
Master Interior Architecture INSIDE.
Graduates’ possibilities for, and
rights to, register with the ‘Bureau
Architectenregister’ (Bureau Archi-
tects Register), in accordance with
the ‘Wet op de Architectentitel
(WAT)’ (The Academic Titles (Archi-
tects) Act), can be found on the
website of the KABK and that of the
‘Architectenregister’ (Architects
Register). The law was adapted in
January 2011. Any student who gradu-
ates after 31 December 2014 and wants
to register in the Netherlands as an
architect, urban designer, garden
and landscape architect or interior
architect is obliged to complete a
professional experience period.
In the academic year 2011-2012, the
thoroughly renewed curriculum of
the bachelor’s programme was intro-
duced. The renewal went hand in hand
with the introduction of the Master
INSIDE. The implementation of the
renewal in the fourth year takes
place in 2014-2015. In 2015 the first
students will graduate from the new
bachelor’s curriculum.
p.91
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.6.1 General description of the discipline
Interior architecture and furniture
design
The discipline is populated by
product and spatial designers who
regard space, in the wider sense of
the word, as their field of exper-
tise. This field covers a wider area
than that of just the interior or
furniture, and the designers also
focus on other objects and prod-
ucts, and on public and open space.
They increasingly cross the tradi-
tional boundaries of their discipline
and explore other domains, think
cross-disciplinary, establish inter-
connections and always try to find
the larger context. With a curious
attitude they continuously question,
search and fight for their position
and that of the discipline.
These designers are increasingly
creating their own context and condi-
tions to work in a permanent state of
research. They do not just position
themselves in relation to clients,
but also pose their own questions,
define their own projects and by
doing so transfer their own vision.
This vision prioritises society and
questions concerning contemporary
times. In their work, contemporary
product and spatial designers antic-
ipate possible future changes to
improve the quality of the living
environment.
Furniture Design
In this versatile approach, the
product designer centralises the
object and the relationship between
man and space. The object - furni-
ture piece or product - has a close
relationship with the human body,
which determines many aspects of
the object’s use or experience. The
furniture piece is also an object in
the (architectural) space. The piece
may exist as an independent object
or as an integral part of the inhab-
ited space, and will influence the
perception and use of the space. An
important aspect of the furniture
piece or product can be its rela-
tion to emotional, social or cultural
values. A product can thus transmit
a message or visualise a story.
The development of new techniques,
production processes and materials
is of importance in the expression of
the product, its manufacturability or
the new user possibilities that the
product gives rise to. Sustainability
and a conscious approach to materials
and their application is therefore of
great importance.
Interior Architecture
In recent decades, the interior is
increasingly defined as a space that
generates specific meanings and
emotions through shapes, colours,
scents, materials and objects, and
can thereby deliberately orches-
trate experiences. This space can be
interpreted broadly; it can refer to
private space, public space, and also
to the urban and open space. Not only
is the inhabitation of these spaces
centralised; movement and mobility
are equally important. Concepts such
as identity, communication and expe-
rience are crucial in the design of
these spaces.
The spatial designer starts with
the big picture and works from there
on towards the smallest detail. It
involves the development of spatial
concepts that form the foundation for
the intended perception and expe-
rience, to the materialisation and
production techniques that eventu-
ally support the realisation of these
concepts. Important to this is the
relation to current and future issues
concerning the use of space(s) and
the sustainability of both material
and space.
Overlap exists between interior
architecture and other design disci-
plines, such as design, textile and
product design. Knowledge and skills
from disciplines other than design
are also applied to interior archi-
tecture, such as ergonomics, engi-
neering, marketing, anthropology and
psychology. Interior architecture
relates to all these areas.
p.92
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
2.6.2 Study profile
‘Learning by Doing: Empirical Crea-
tive Education and Training’
Inquisitive
The curriculum focuses on experi-
mentation and research, and its core
aim is to discover possibilities
and unlock the student’s potential.
The new bachelor’s KABK Interior
Architecture and Furniture Design is
based on the precise balance between
conceptual and empiricist education:
abstract thinking versus pragmatic
embedding. This programme encour-
ages the development of an inde-
pendent inquisitive design attitude
that generates unexpected, surprising
results and perspectives.
Creating
Learning by doing. The programme
centres on the designer’s individual
position and identity from a profes-
sional perspective. Great value is
attached to both the student’s work
process and approach. A graduate
with the title Bachelor of Design can
easily complete any assignment with
a highly individual approach, and
keep up with the incredibly fast and
continuous transformation of the 21st
century world.
Education
Characteristics of the programme are
the tension between the development
of the student’s design personality
(to learn to design on an individual
basis), the required professional
skills, and the contribution to
social issues in contemporary society
and the cultural context.
The motto “Learning by Doing: inves-
tigative practical education’ as an
integrating activity is central to
the new bachelor’s programme. Courses
are integrated with, complementary
to and supportive of the student’s
development.
The keywords of our educational
approach are dialogue and interac-
tion. We work in small teams. The
studio context stimulates exchange,
supplementation and confrontation,
and we focus specifically on social
interaction and collaboration.
We also pay much attention to the
development of empathetic ability
in the broadest sense of the word.
This includes empathy towards users,
target groups, context, society and
contemporary themes.
Additionally, we address the
student’s mentality, personal respon-
sibility and independent func-
tioning in the department team. The
student will not graduate by simply
completing the assignments and satis-
fying the teacher’s demands. He also
has to develop a flow to keep up his
development.
For each task the student has to
pose different questions and solve
different problems. This gives the
programme agility and connects it to
the unpredictable dynamics of current
events.
Full time and part-time
Interior architecture is offered as
a full-time and part-time programme.
Furniture Design as specialisation
is only available in the full-time
programme. In the full-time programme
Interior Architecture and Furniture
Design all students follow a joint
programme in the propaedeutic year.
At the beginning of the second year,
students make the choice between the
specialisations Interior Architec-
ture and Furniture Design, where the
design projects are offered sepa-
rately.
Interior versus Furniture
In the second year, students choose
to specialise in Interior Architec-
ture or Furniture Design. The courses
in the domain Design and oriented
on the professional practice of the
chosen discipline. The remaining
study programme is composed for
students of both specialisations.
Final qualifications Interior Archi-
tecture and Furniture Design
p.93
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
As a participant of the final exam
you must meet the following final
qualifications:
/ You are able to develop an
innovative concept arising
from your artistic ambition
and research, elaborate it
into a distinctive image,
product, means of communication
or spatial design, and to
contextualize it in a meaningful
way (creative ability)
/ You are able to consider,
analyse, interpret and assess
your own and others’ work, and
are capable of constructively
considering your findings
in relation to your own
work (capacity for critical
reflection)
/ You are able to further develop
your vision, work and working
methods in breadth and depth
through an ongoing process
of research, and in this way
contribute to your discipline
and to society (capacity for
growth and innovation)
/ You are able to establish
and maintain an inspirational
and functional working
environment and to organize
your research, work and practice
(organizational ability)
/ You are able to effectively
present your vision, research
and work and engage in a
dialogue with clients and
other interested parties
(communicative ability)
/ You are able to relate your
artistic practice to the
artistic and social context
(external awareness)
/ You are able to make an
independent contribution to a
collaborative product or process
(capacity for collaboration)
The overview of the competences per
academic year can be found at the end
of this chapter.
Diploma
Graduates are awarded a Bachelor of
Design (BDes) in Interior Architec-
ture or Interior Design.
Post-graduate studies
After receiving their Bachelor’s
degree, graduates can enrol in a
master’s programme in design (M
Design) or art (M Fine Arts) or
another post-graduate programme at
an art academy, such as an Academy of
Architecture.
At the Royal Academy, graduates can
choose to continue their studies at
the Master’s Interior Architecture
INSIDE. For more information on the
admission procedure please visit:
www.enterinside.nl.
Admission Procedure
Interested parties can find informa-
tion on the programme and application
procedure on the KABK website. There
they can register for the entrance
examination that takes place during
the selection day. After registra-
tion, the candidate will receive an
invitation to the selection day, to
which he needs to bring a letter of
motivation, the completed question-
naire, home assignments and a port-
folio. We prefer that the portfolio
does not contain work based on school
assignments.
On the selection day the candidate
presents his work and completes two
practical assignments. One of the
assignments covers conceptual design,
in which the candidate should demon-
strate spatial understanding, inven-
tiveness and a feeling for form.
The second assignment should show
the extent to which the candidate is
able to perceive visual information
and record it. In a portfolio inter-
view with the admission committee,
which is composed of the depart-
ment’s head or coordinator, teachers
and students, numerous issues are
discussed which determine whether the
candidate’s potential is sufficient
to start the programme.
p.94
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Specific admission requirements
In the entrance examination during
the selection day, the candidate is
assessed on various aspects at the
hand of different methods.
The practical assignments provide
information about the candidate
regarding:
/ providing creative and/or
innovative solutions
/ spatial understanding
/ material sensitivity
/ research skills
/ perseverance
/ perception
/ drawing skills
/ expressive ability
/ insight
/ personal approach
The discussion of the portfolio
provides information regarding:
/ the environment the candidates
lives in
/ personal interests
/ dexterity and/or sensitivity to
materials
/ organisational skills,
initiative, abilities
/ the ability to reason
/ general knowledge
/ knowledge of art, history,
culture, architecture, etc.
/ motivations and ambitions
/ personal goals
The emphasis is on the candidate’s
artistic production (sketchbooks,
objects, notes, collections) that has
been created outside the framework of
school.
2.6.3 Study programme overview
Please note: the description below
applies to the new Bachelor of
Design, which was implemented at the
start of the academic year 2011-2012.
For the current curriculum of study
year four in 2013-2014 please refer
to: Curriculum old style below.
Full-time programme
Main structure
The four-year programme of the new
Bachelor of Design has three phases:
the propaedeutic year, the main phase
and the final phase. Each phase has
a specific mission. These missions
follow the substantive structure of
cross-pollination (year 1), depth
and connection (years 2 and 3) and
positioning (year 4). This chrono-
logical structure is organised in
four directions, ‘the domains’, which
return in each academic year. The
four domains are design, morphology
(labs), media & materials and knowl-
edge & context. Characteristic of the
study programme are the experiment
and research elements. Each year, the
research focuses on a specific area
or contemporary theme. At the core of
the curriculum lies a solid histor-
ical and cultural basis, and students
are given the possibility to inter-
pret this basis and integrate it into
their designs.
Domains
The Design domain
Designing is the main component and
foundation of the programme. The
design domain has a thematic struc-
ture. Especially in the first year,
the conceptual framework is simple
in set-up in order to discuss and
question everyday concepts. In Inte-
rior design four subject areas are
centralised: Private interior, Public
Interior, Urban interior and Object
3D. From the second year onwards,
the Furniture Design program focuses
on the areas: Private object, Public
p.95
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
object, Urban object and Object 3D.
During classes, the student works
under the guidance of teachers but
also independently on projects in the
studio space at the academy.
The Morphology domain
In a simulated laboratory atmosphere,
autonomous exercises, examinations
and free (form) studies take place in
the morphology component. This domain
differs from the design assign-
ment in that students only ‘create’.
The process stages from analysis
to end design, which are regular
to the assignments, are explicitly
ignored here: it’s not about the end
result, but about the process. From a
certain approach or method, students
instantly create, visualise and
experiment. Morphology has as aim to
examine, familiarise and control the
phenomenon of space and form, with
numerous methods and approaches. The
medium or the approach partly deter-
mines the form of expression. The
integration of visualisation is also
an important element in this domain.
The morphology domain amply addresses
topics such as light, texture,
relief, shape, acoustics and sound,
colour, smell, etc.
The Media & Materials domain
In the media & materials domain,
basic skills and tools are discussed,
not so much to develop them, but as
a means of discovery and to teach
students how to apply them in design
projects. This domain is there-
fore also a source of inspiration
and functions as a trigger. Media,
techniques and materials become the
terrain of expertise and research.
The domain covers, among others,
the skills hand drawing 2D and 3D,
model construction, photography,
graphic design, textiles and
ceramics, computer 2D and 3D, rapid
prototyping, augmented reality and
image processing. The teaching and
mastering of the techniques and
skills is not an independent element
and is not the primary learning
objective. This domain is equally
cross-disciplinary and extends across
the boundaries of the design disci-
plines. This study component is the
student’s primary source to get opti-
mally introduced to all departments
and the wealth of facilities/work-
shops of the institute.
The Knowledge & Context domain
The knowledge & context domain covers
theoretical knowledge in the form
of seminars and (work) assignments
relating to art philosophy, archi-
tectural theory and design theory.
Additionally, lectures and excursions
are organised.
The Interior Architecture department
offers its own annual lecture series
consisting of eighteen lectures. The
lecture series gives an extra theo-
retical impulse to the programme and
matches, as closely as possible, the
on-going study programme and the
theme of the semester. The direct
link between the selected semester
theme and the programme of lectures
and films (and the academy-wide
Studium Generale) strengthens and
supports the theoretical framework
and also, specifically, the semester
programme. We especially invite young
(hot) talent to speak in the lecture
series. Students organise a debate
after each lecture or film.
Excursions and tours are an essential
aspect of the programme. The propae-
deutic year starts with an introduc-
tion week in which the students go
on excursion. In the annual excursion
week, students also go on an excur-
sion, which is often abroad. The main
study programme is complemented by a
number of smaller theoretically and
practically themed excursions, museum
visits, exhibitions, and so on.
Individual Study Trajectory
The Individual Study Trajectory (IST)
is available for all students from
the second year onwards, and aims
to broaden and deepen the study.
Students can follow courses in the
IST on the condition that their
p.96
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
choice is connected to their design
assignment of that period, and that
the relationship between the IST
choice and the assignment can be
clearly demonstrated in the final
assessment. The study load and the
associated credits are appointed for
this purpose in consultation with the
team of lecturers. There are several
possibilities available, such as
following a minor at Leiden Univer-
sity. In addition to the electives,
students can use the IST to deepen
their study by appointing more time
to the obligatory courses, or choose
from the academy-wide IST offer and/
or the interdisciplinary Research
Labs of the department(s).
As part of the Individual Study
Trajectory, students compose a study
plan that requires the approval of
the team of lecturers and is super-
vised by both the coach and the
study advisor. The coach super-
vises students for the duration of
one academic year, while the study
advisor guides students throughout
all their years of study. Coaches
stimulate their students to work
cross-disciplinary as much as
possible, and to use all the exper-
tise, facilities and workshops avail-
able. 12 EC are appointed to the IST
per year.
Part-time students can benefit from
the offer of electives. Students can
also follow courses from the full-
time or part-time curriculum in the
framework of the IST (on the condi-
tion that places are available and
permission has been granted). For
general information about the IST
please refer to chapter 6.1.3.
Programme per year
Year 1 [semesters 1 and 2]
Propaedeutic year
Mission: cross-pollination
The first year of study focuses on
the following core issues:
Cross-disciplinary, test limits,
experiment, (broad) orientation and
confrontation, design, learning
by doing, interaction and social
network/student mixing. In the
propaedeutic year students make
optimal use of the workshops and
facilities offered by the insti-
tute. This introduces students to all
possible development and production
methods. We also aim to interact with
the other disciplines at the KABK.
Project work is central to the first
year. Each semester, students work
on two main projects in the form of
design assignments that are completed
in different stages. Students work
highly concentrated for a period
of 16 weeks on these projects. The
morphology domain is represented
in four blocks throughout the year.
The rest of the weekly programme is
more or less appointed to the design
projects. The knowledge & context
domain, the theory component of the
first year, consists of three main
components:
/ Architectural theory and
reflection: concepts and
frameworks, contemporary current
situation and context.
/ Design theory: concepts and
frameworks, contemporary current
situation, design, visual art
and context. In the first year
in the media & materials domain,
the student is introduced to
all departments and facilities/
workshops at the KABK.
/ Research and Discourse: all
first year students follow the
course Research and Discourse
as part of the academy-wide
programme. The KABK also
organises a Studium Generale
for all students. Additionally,
we organise an annual lecture
series consisting of eighteen
thematic lectures.
p.97
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Year 2 [semesters 3 and 4]
Main Phase
Mission: depth and connection
Key concepts of the main phase are
forecasting, back-casting, visionary
thinking, dreams, future, here and
now. Students also reflect on inter-
national and national contemporary
issues, connect to the real world,
and find their own position in the
framework of the theme: ‘who am I’.
After an introduction to the disci-
pline, the academy and the workshops
in the propaedeutic year, students
apply this basic knowledge in the
second year to position themselves
in the framework of more complex
assignments. The reality of the field
and its specific focal points are
addressed. Students are simultane-
ously encouraged to formulate the
beginning of their own vision and
dreams for the future as a designer.
Students are expected to show more
initiative and they are challenged
to develop and employ their personal
preferences.
In the second year, two blocks
Morphology are compulsory. Each
academic year, the research compo-
nent in both the design courses and
the Morphology Labs increases in
size. The department offers Research
Labs in the framework of the Indi-
vidual Study Trajectory (IST), which
are also offered academy-wide and
thus become more interdisciplinary.
For more information about the IST
please refer to the section ‘Indi-
vidual Study Trajectory’ above, and
to chapter 6.1.3.
The knowledge & context domain of the
second year consists of three main
components:
/ Art reflection: visiting
exhibitions, museums, galleries,
platforms of contemporary art,
architecture and design projects
in the city, art in public
spaces and buildings.
/ Architectural theory: concepts
and frameworks, contemporary
current situation and context,
anthropology and sociology.
/ Design theory: concepts and
frameworks, contemporary
current situation and context,
anthropology and sociology.
Architectural and design theory in
the second year are linked to project
work (Mondays or Tuesdays), so that
students receive direct theoretical
input and are motivated to (also)
explore the theory. This forms the
first attempt to develop individual
preferences and (private) research.
In addition, we organise lectures
and seminars for both architectural
and design theory in line with the
research themes.
In the second year, in the framework
of architectural and design theory,
attention is given to anthropology of
space and to the way students observe
our relationship with spaces and
objects from an anthropological and
sociological perspective. Students
examine and experience space and
object from different perspectives:
from the various spaces (public/
private), the various users (visitor,
cleaner), (often culturally deter-
mined) actions, (social) behaviour
and scripts that (should) take place,
and the senses (what does it smell
like?). The use and development of
empathy plays a major role.
Year 3 [semesters 5 and 6]
Main Phase
Mission: depth and connection
The key concepts of this part of the
main phase are forecasting, back-
casting, visionary thinking, dreams,
future, here and now, reality check,
skills, knowledge, practical and
professional experience, intern-
ship. Students also reflect on
international and national contem-
porary issues, connect to the real
p.98
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
world, and find their own position
in the framework of the theme: ‘who
am I’. This year also centralises
the reality check: knowledge of the
practical and professional environ-
ment, employee versus entrepreneur,
relation to the field, industry and
government, and business.
The third year follows the same
structure as year 2, with as addi-
tional aspect the link with profes-
sional practice. In the assignments
in the design domain, depth of
study is achieved by emphasising the
manufacturability of the designs.
The students are made aware of the
consequences in relation to construc-
tion, materials and costs that result
from a developed concept: the reality
check.
An important aspect of the third year
curriculum is the practice assignment:
students work for external clients on
real assignments in which the produc-
tion and realisation within strict
budgetary frameworks and with strin-
gent planning is an important aspect.
This direct link to professional prac-
tice is also made in presentations in
the Netherlands and abroad, such as
the annual presentation at the Salone
di Mobile in Milan.
Students are encouraged to work
cross-disciplinary, optimally utilise
the available expertise, and all
facilities and workshops at the KABK.
The media & materials and knowledge &
context domains are expanded focusing
on specific themes and techniques.
These overarching themes emerge from
annual themes, often related to a
social context, that also guide the
rest of the domains.
In the fifth semester students write
an internship plan. In the sixth
semester they take part in an inten-
sive period in the professional field
by interning at a carefully chosen
and suitable (inter)national design
or architectural bureau.
The main phase is concluded with the
Memento: an assessment of the port-
folio of work created in year 2 and
3.
Curriculum old style
Year 4 [semesters 7 and 8]
Final phase: positioning
Key concepts: manifestation, oeuvre,
statement and portfolio, more
research, in-depth research, essay/
thesis, collection development.
In addition to an intensive period in
the professional field in the form
of an internship in semester 7, the
student creates an interior archi-
tecture or furniture collection in
semester 8, masters the associated
techniques and is able to give his
collection a position on the market.
The primary goal of the final phase,
which is concluded with an examina-
tion, is the candidate’s demonstra-
tion of his qualities as a designer.
This means that he is able to trans-
form his ideas into concepts, archi-
tectural solutions, furniture and
product solutions, form, material,
technique and detail; in the context
of one or more assignments.
The exam Interior Architecture or
Furniture Design consists of the
following components:
/ The creation of a design or
multiple designs that address
a collection of interior
architecture, furniture or
related subject, in its totality
and broadest sense of the
word. This happens within the
framework of both a thematic
and a self-chosen assignment,
in which an interior or piece
of furniture can be intensively
produced. The use of technical
and spatial conditions should
be interesting enough to arrive
at a qualitative plan. One
requirement is that the plan
should allow both architectural
furniture and object solutions
and interventions.
p.99
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ The creation of a design
or multiple designs, which
express the student’s personal
mission and quality. This
design determines the student’s
position and his collection
in its totality, and can be in
line with previous projects
completed in the Individual
Study Trajectory.
/ Previously completed designs
(from previous study years)
can be part of the candidate’s
overall presentation, the
collection.
/ The writing of a thesis about
a subject relevant to the
discipline/profession, with the
aim of formulating and applying
theoretical backgrounds in
relation to the personal mission
and beliefs.
/ Graduation exhibition and
presentation of the collection.
An important aspect of the final
phase is the visual and verbal
presentation of the collection,
during which we expect student
to position himself and to
critically reflect on the
discipline, his fascinations
and his relationship to his
collection.
A schematic overview of the new and
old curricula of the Interior Archi-
tecture and Furniture Design full-
time and part-time programmes, with
the corresponding credits in ECs, is
included at the end of this chapter.

Schedule
Each semester students work on two
main projects, the design assign-
ments that consist of several stages.
Students are able to work very
intensely on the projects over a
period of sixteen weeks. On Tuesdays
or Wednesdays, Morphology, the IST
and the Research Labs are scheduled
in. The rest of the weekly programme
is more or less available for work
on the projects. Students usually
receive theory classes on Thursdays.
On Fridays, the media & materials
domain is scheduled, for the more
autonomous skill exercises.
The part-time programme
The part-time course is predom-
inantly similar to the full-time
programme. The Individual Study
Trajectory (IST), however, is offered
as a taught programme. There is no
compulsory internship; students are
required to make their own connec-
tions in the professional field.
2.6.4 Educational and professional
objectives
Integral feedback
At the end of the first and third
block, students give a short pres-
entation on the work done in the
previous period to all teachers
and fellow students. This is an
informal feedback session, informa-
tive and intended as an exercise in
presenting. This presentation may
lead to a set of customized goals/
objectives for the next block.
Individual assessments
At the end of each semester, students
present work done in the previous
period per subject to the relevant
teacher and fellow students. This can
lead to a set of customized goals/
objectives for the next semester.
Collective assessments
Each semester is concluded with a
short presentation by the student
on his work from the previous period
and includes the (re)presentation
of the design assignment and other
exercises. It is a formal assessment
that is informative and intended as
a presentation exercise. During the
collective assessment, the student
presents his work directly to the
(examination) committee, the team of
lecturers and the audience (fellow
students). The student receives imme-
diate feedback on his work during
the presentation, and there is room
for dialogue. The final assessment
p.100
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
and internal committee deliberations
take place without the student. The
aim of the interaction with the team
is to get an idea of the student’s
work, his capacity for reflection and
together formulate fitting short-
term goals/objectives for the next
quarter or study year. The formula
contributes to the protection of the
overall quality of the programme,
the student’s individual input, his
progress and his continuity in the
study process.
Propaedeutic year assessment
Students receive a binding study
advice after the first year: the
propaedeutic year. The student is
assessed halfway through and at
the end of the first year to deter-
mine whether he has acquired suffi-
cient design skills and demonstrates
visible talent to further develop
into a potentially good designer. He
is also assessed on the basis of his
ability to connect with his environ-
ment from the position of designer.
An overview of the propaedeutic year
competences can be found at the end
of this chapter.
Competences
At the end of the programme, the
student must master the Interior
Architecture and Furniture Design
competences of a spatial designer.
This means that the student can func-
tion independently as a designer in
the professional field. His develop-
ment as a generic all-round designer
is the programme’s primary aim. He
has developed in such a way that he
can apply the gained knowledge and
experience to professional situa-
tions. This demands certain things of
the person and the personality of the
designer.
A designer educated at the KABK has
a personal vision on the profes-
sion of designer and his place in
society. He knows, in a surprising
and layered manner, how to transfer
meanings and to reflect on develop-
ments in the discipline and society.
From an investigative attitude and
an independent working process, the
student is able to set new develop-
ments in motion, pick up old existing
ones and continue working with them,
and develop his vision, mission and
oeuvre. By doing so he considers
problems and subsequently solves,
materialises and translates them.
Of equal importance is the student’s
awareness of the cultural, social,
technological and economical develop-
ments surrounding him. Engagement is
the breeding ground for his method.
If the designer wants to play a
relevant part, he must show empathic
ability; he has to be aware of his
audience.
The student learns to develop
and profile his own position as
a designer. This requires him to
discover, investigate, research,
question and shape his own prefer-
ences. To do so, he needs to have an
independent mind-set and a reflective
design attitude, and sufficiently
broad theoretical and artistic
knowledge and insight. The student
should have ample critical reflection
skills, to observe, analyse, inter-
pret and evaluate his own work and
that of others.
The complete overview of the compe-
tences can be found at the end of
this chapter.
p.101
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.6.5 Department organisation
The head of department is respon-
sible for the department’s policy and
all aspects related to this policy.
The team of lecturers reflects the
content of the programme and its
professional set-up.
Many of teachers have a profes-
sional practice and work either
independently or in a team. Because
of the diversity in experience and
expertise, the student is confronted
with numerous aspects and approaches
of the discipline. Specific knowl-
edge of the professional practice is
offered by means of guest lectures.
Head of Interior Architecture and Furniture Design
Claudia Linders
Head of part-time programmes
Ernst Bergmans
Coordinators
Roosmarijn Hompe
[email protected]
Paul Moor
[email protected]
Internship coordinator
Willem Moeselaar
Study Advisor
Ellen Vos
Team of Lecturers
Design
Gert Anninga Amber Beernink
Jan Harm ter Brugge
Maarten Collignon Lars van Es
Ingeborg Horst
Barend Koolhaas Sophie Krier
Jeroen van Mechelen
Aura Luz Melis Wendy Legro
Paul Moor
Wim Ros Christoph Seyferth
Ramin Visch
Wim De Vos
Adjo Vreeburg
Julian Wolse
Morphology
Krijn Christiaansen
Cathelijne Montens
Ellen Vos
Media & Materials
Marie Ilse Bourlanges
Marijke Cobbenhagen
Vanessa van Dam
Corine Datema
Sanne Dijkstra
Chantal Hendriksen
Elena Khurtova
Harold Linker
Willem Moeselaar
Sanne Peper
Michaël Snitker
Frans Willigers
Knowledge & Context
Liesbeth Fit
Inger Groeneveld
Ernie Mellegers
Eric Vreedenburgh
p.102
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
p.103
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.6.6 Total overview of qualifications

QUALIFICATIONS PROPAEDEUTIC YEAR MAIN PHASE, YEAR 2
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
p.104
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
QUALIFICATIONS MAIN PHASE, YEAR 3 MAIN PHASE, YEAR 4
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to develop an inno-
vative concept arising from your
artistic ambition and research,
elaborate it into a distinctive
image, product, means of commu-
nication or spatial design, and to
contextualize it in a meaningful
way.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to consider, analyse,
interpret and assess your own and
others' work, and are capable of
constructively considering your
findings in relation to your own
work.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to further develop
your vision, work and working
methods in breadth and depth
through an ongoing process
of research, and in this way
contribute to your discipline and
to society.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to establish and
maintain an inspirational and
functional working environment and
to organize your research, work and
practice.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to effectively present
your vision, research and work and
engage in a dialogue with clients
and other interested parties.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to relate your
artistic practice to the artistic
and social context.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to make an independent
contribution to a collaborative
product or process.
p.105
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
* Incl. Business Plan Writing in year 3
1st year: Due to the changed Research & Discourse programme minor adjustments of the EC is an possibility.
INTERIOR ARCHITECTURE AND FURNITURE DESIGN FULL-TIME
NEW STYLE (YEAR 4 IS NOT YET AVAILABLE IN THIS FORM)
Year 1 2 3 4
Course 1 2 3 4 5 6
Design 12 12 12 12 12 4
Morphology 6 6 3 3
Media & Materials 6 6 4 4 4
Academy-wide propaedeutic year
project week
1
Knowledge & Context 2 2 4 4 3 1
Research and Dicourse 3 3
Essay / thesis 2
Programmed career preparation * 1 1 1 2 1
Internship plan and internship 1 18
End exam projects
IST / Portfolio / collection 6 6 6 6
Total 30 30 30 30 30 30
EC after individual assessment 24 24 24 24 24 24
EC after collective assessment 6 6 6 6 6 6
2.6.7 Study points overview
p.106
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
INTERIOR ARCHITECTURE AND FURNITURE DESIGN FULL-TIME
OLD STYLE (YEARS 1,2 AND 3 ARE NO LONGER AVAILABLE IN THIS FORM)
Year 1 2 3 4
Course 7 8
Design 1
Design 2
Visualising
Career preparation
Academy-wide propaedeutic year
project week
End exam 18
Internship 24
General Art History
Intro General Art Theory / academic
skills
Thesis 6
IST 6 6
Total 30 30
EC after individual assessment 24 24
EC after collective assessment 6 6
p.107
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
INTERIOR ARCHITECTURE AND FURNITURE DESIGN PART-TIME
NEW STYLE (YEAR 4 IS NOT YET AVAILABLE IN THIS FORM)
Year 1 2 3 4
Course 1 2 3 4 5 6
Design 10 10 10 10 10 10
Morphology 8 8 6 6 4 4
Media & Materials 6 6 4 4 4 4
Knowledge & Context 2 2 3 3 3 3
Research and Dicourse 3 3
Essay / thesis 2 2
Programmed career preparation (*) 1 1 1 1 1 1
End exam projects
IST / Portfolio / collection 0 0 6 6 6 6
Total 30 30 30 30 30 30
EC after individual assessment 24 24 24 24 24 24
EC after collective assessment 6 6 6 6 6 6
* Incl. Business Plan Writing in year 3
1st year: Due to the changed Research & Discourse programme minor adjustments of the EC is an possibility.
p.108
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
INTERIOR ARCHITECTURE AND FURNITURE DESIGN PART-TIME
OLD STYLE (YEARS 1,2 AND 3 ARE NO LONGER AVAILABLE IN THIS FORM)
Year 1 2 3 4
Course 7 (9) 8 (10)
Design 1
Design 2
Visualising.presentation
Career preparation
End exam 18
Theory and profession theory
Internshio 24
Intro General Art Theory /
Academic skills
Thesis 6
IST 6 6
Total 30 30
EC after individual assessment 24 24
EC after collective assessment 6 6
p.109
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.7 Interactive / Media / Design
2.7.1 ‘History’ of the discipline
In the short history of interac-
tive media there have already been
a number of radical shifts in the
general perception of the discipline.
During the rise of the internet in
the early nineteen nineties, there
were two major streams of thought on
how this medium could develop. On the
one hand there was a strong belief
that the internet would play a vital
role in the expansion of individual
freedom and that it would contribute
highly to an accelerated media-eman-
cipation of the attuned partici-
pant. However, at the same time this
freedom was celebrated, most devel-
opments were highly clustered around
individual, immobile usage. Technical
developments had not advanced to
the current level; mobile communica-
tion was still mainly operating in
the professional domain, broadband
internet was only accessible to a
few and only used for professional
purposes and the costs of participa-
tion were still significantly higher.
Most of the applications outside of
the professional domain were built to
serve on stationary, slow personal
computers with a very limited access
to the internet.
Today we can assess that the rise
of interactive media has partly led
to the emergence of very different
applications than could be predicted
at the beginning of this journey.
Developments have surfaced which
prove rather the opposite of some
of the concepts of that time; for
instance the believe that internet
and mobile telephones were two sepa-
rated tracks or the belief that peer-
to-peer communication could not be
commodified. But also the assumption
that every social-societal develop-
ment would follow the same, linear
techno-economic path. Again, we know
better now; the most explosively
expanding economy is that of mobile
communication, in which most of the
capacity is not being used for making
telephone-calls yet it is based on
the technology developed specifically
for that purpose. The fastest growing
companies (like Facebook, You-Tube
etcetera) are basically re-sellers of
content generated by its own clients
– now transformed into prosumers,
being producers and consumers at
the same time - proving that it is
no necessity to have a central core
of production (or any production
capacity at all) to generate streams
of sellable content. If we look at
the techno-economic progression in
most of the African countries, we can
see that ‘the new participant’ enters
on the most advanced level, in other
words; there is no need to go through
all the in-between stages like
stationary computers, fixed tele-
phone-lines or even traditional tele-
vision to get to the most progressed
level of participation. Most Afri-
cans have never seen their Facebook
profile on a ‘normal computer’ but
only on their smart-phone and many of
these participants use the same phone
also to pay for their daily shop-
ping (through an app like M-Pesa for
instance) not only in the shopping
mall but also on the local market.
This type of usage is very advanced
in comparison with regions with a
longer history of usage.
Such examples show the necessity of
a re-assessment of the notions of how
and where new developments (will)
take place. Therefore the thinking
about interactive media design
demands much flexibility and a keen
awareness of social developments,
worldwide. The awareness of one’s own
relation with society (at large) and
the personal position of the designer
in the ever changing field condi-
tions of interactivity are subject
to constant monitoring and training,
equally important to the development
of skills to express oneself.
p.111
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.7.2 The actuality of Interactive / Media /
Design
As the implementation of media-con-
vergence has probably not reached
its full potential yet and as the
concepts and perceptions of what
interactive media are keep changing
at high velocity, it serves little
purpose to actually speak of a
history of interactive media as a
separate part of its progress. Of
all the disciplines which are iden-
tified at the Royal Academy, Inter-
active / Media / Design is probably
the hardest one to define on bases
of what has been. A common miscon-
ception is that interactive media
design is synonymous to interaction
design. Interaction design focusses
mostly on the development of soft-
ware and computer-human interfaces.
It is an essential part of Interac-
tive / Media / Design, but explic-
itly not all inclusive - for the
arguments mentioned before demand
a perspective which is overarching
all specific media. Designing in the
trail of ‘Moores Law’ under which
effects processing speed, computing
and memory capacity roughly doubles
every eighteen months, new poten-
tial is unlocked in a constant and
predictable rate. Yet, whatever
possibilities this generates is not
a given. The designer stands in the
middle and transduces notions from
the virtual to the actual and vice
versa, in which media themselves play
an affording role, but not hold the
key to expose the true meaning of
this future development. The crea-
tion of new interaction can never be
separated from the designer or the
conditions it emerges from. New forms
of interaction can be self-referen-
tial, but never be detached.
This meta-medial perception is prob-
ably the hardest ‘skill’ to master
during the studies at this depart-
ment, after all there is a constant
demand of producing physical products
(which obviously could be digital as
well, the oxymoron of modern media)
and yet there is a keen awareness
that the real progress in media
development is not found by simply
just crafting a new application for
your I-phone or another MMORPG.
For these reasons, the central
question is always; what is inter-
action? If you would have addressed
this issue twenty, fifteen or ten
years ago you could expect a range of
answers which were as true, as they
were not. Today not many know what
the role and importance of prod-
ucts like ATF-3, CD-i, altavista or
second life was (or even what they
were at all), yet just a few years
ago these were regarded as highly
innovative and exemplary in the field
of interactive media. The quest for
a definition of interaction is key
for the involvement of all partici-
pants in this department, scholars,
tutors and student alike. At the
same time all share the awareness
that there is no singular answer. The
focus must therefore be directed on
the capacities of the media we deal
with, rather than their properties,
not because the latter will not be
able to stand the test of time, but
especially because interaction only
exists in relations, and not in the
object itself. These dynamic, ener-
gising and agile conditions shape
the ‘habitat’ of a special breed of
creator; the Interactive / Media /
Designer.
2.7.3 Profile of the department
Description of the department
Interactive / Media / Design is the
youngest department of the Royal
Academy of Art training students
to become designers of interactive
concepts and processes. I/M/D lays
down the link between people and
processes as well as those between
people and products. Ideas are our
main product and that’s why students
at I/M/D are taught to think in
non-media specific terms, which are
p.112
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
later translated into a concept
and meta-medial, multi-medial or
cross-medial applications.
Students work with real cases and
commissions, focusing on the inter-
national market. To strengthen the
student’s expertise and their chances
of reaching an international audi-
ence the department uses English for
all its courses. Since the demand
for media designers is constantly
growing, I/M/D provides the education
necessary for independent, social,
conceptual, creative and pan medi-
al-designers.
Students learn to detect cultural,
social, technological and economic
trends in society and transfer those
trends into promising new concepts.
During the course of the study one
learns how to work with a variety
of media techniques necessary to
communicate with specialists on a
professional level and to apply those
techniques to their optimal level.
Equally important are the methods
enabling the student to keep an over-
view of the process as well as the
setting and realization of goals.
The program is built up to effi-
ciently engage numerous media-typol-
ogies. At the start of the program
the student is immersed in courses
such as: Interaction Design, Graphic
Design, Photography, Sound-Design
and Visualizing. After this exten-
sive introduction the focus shifts
towards individual development of the
student. I/M/D pushes the limits of
media with courses such as Concept
Development, Meta-Medial Thinking and
Personal Leadership, the student will
be faced with the question, “What can
I do with this knowledge and what
role do I play? With these ques-
tions in mind the student goes on to
encounter courses such as: Multimedia
Artistic Development, Creative Lead-
ership, Critical Media, Storytelling
as well as more in depth levels of
Interaction Design, Concept Develop-
ment and Moving-Image.
Collaboration is an essential part
in preparing for the professional
circuit. At I/M/D the students learn
to assess their own expertise as well
as those of their colleagues, which
is the key in collaborating success-
fully. Many projects are executed
collectively, often teaming up with
students from different years. This
way of working already places the
students into a studio setting during
their studies.
I/M/D continues to be in close
contact with the professional field
in order to keep informed and to
deepen existing insight. Students
are involved in this process through
dialog with the teachers; collec-
tive attendance to conferences such
as C.C.C. and PICNIC; co-organizing
symposia as MasterMundo; creating new
knowledge and inspiring networks such
as Pool of Masterminds; plus organ-
izing challenging internships in the
Netherlands as well as abroad.
After graduation students will be
able to maneuver in branched networks
at different levels, be seekers of
knowledge with the broad perspec-
tives necessary to become inde-
pendent communication specialists.
This will allow graduates to compete
for positions at large commercial
or non-profit communication agencies
internationally. I/M/D is the depart-
ment for those students who have the
ambition to impact society through
interactive media.
Professional profile
A graduate of Interactive Media
Design has a variety of possible
positions to consider. The fact that
IMD does not focus on or specialises
in one particular medium, often leads
to the misreading that it is not a
specialisation in itself. The depart-
ment was started as a reaction to the
increasing demand from the profes-
sional field for a type of designer
which is knowledgeable enough to
communicate about media specific
issues with various media special-
p.113
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
ists, yet holds enough distance to be
able to translate clients demands and
wishes into media expressions. At the
same time this designer should have
a keen understanding of the rapidly
changing field of media and their
usage, which demand an attitude that
embraces change and finds solidity
in instability. Positions which are
envisioned were that of art-director,
concept developer, communication
strategist or senior media devel-
oper. In spite of its short history
(the first I/M/D graduates received
their diploma in 2010) most alumni
have found a professional position in
the described category or similar.
We currently find them all over
the globe (Berlin, Hong Kong, Los
Angeles) working for a commercial or
non-profit organisation.
End-qualifications
These qualifications are expressed
in seven competencies within three
domains. The Royal Academy has drafted
these competencies in line with the
national guidelines for the studies
in design. During the four years of
study, our students will be tested
on the development of these competen-
cies, each step at a more challenging
level. The competences are:
/ Creativity
/ Critical reflection
/ Growth and innovation
/ Organizing
/ Communication
/ Relating to the environment
/ External awareness
/ Ability to collaborate
These competencies are the basis of
the evaluation by the teachers at the
end of each course and they are also
used to evaluate the presentations
at the end of each semester. In turn,
twice a year an evaluation meeting is
held for the students to evaluate the
programme and suggest improvements.
A more detailed description of the
requirements can be found at the end
this section of this study guide.
The students are tested on the devel-
opment in this range of professional
competencies within three domains:
/ Artistic Technical domain
/ Theoretical domain
/ Professional social domain
The parameters for the development
of a renewing department like Inter-
active / Media / Design reflect in
the development of an enriched and
relevant set of competences. We
have chosen to handle projective
approach towards the educational
goals. This means we try to keep as
close as possible to our original
set of parameters without focussing
too much on outcome. This way I/M/D
will remain flexible, participatory
creative/reacting and able to swiftly
adjust its course if necessary.
The parameters of I/M/D are:
/ Creativity and innovation
/ New thinking
/ The I/M/D staff and students
have to work with real problems,
real people and real conflicts.
/ Never out of touch with what is
happening in society.
/ Students should be brave and
take risks.
/ Creative, ambitious, curious,
risk-taking, social engaged.
/ A unique educational program for
young people who wish to make a
positive difference in society.
/ How do we best unlock the
creative and innovative forces
in each individual and in
society as a whole?
/ The study has had and should
always have a direct link
with the private, public and
voluntary field.
/
p.114
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
/ The idea is to help
organisations and individuals
master the capability for
innovation and creativity,
leveraging the I/M/D philosophy
and methodology.
/ Creating, testing, displaying,
unfolding great ideas, products,
services and learning.
Diploma
The study entitles graduates to the
title Bachelor of Design (BDes) and
gives access to additional study
programs on the master level.
Follow-up studies
With the acquired diploma, alumni
could chose to enrol in a master
program. Some interesting programs
can be found in Holland, to name a
few: Master Artistic Research (KABK),
Master Media Design and Communica-
tion (PZI), Master Interactive Media
and Environments (FMI), Master Media
Studies (UvA).
Admission-procedure
Candidates apply through the
internet, they fill out the applica-
tion form and receive a document with
a specification of the documents they
have to produce before the admission
interview. After examination of these
documents, candidates are invited
for a day of admissions; during this
day candidates are asked to work on
a task, specifically design to test
some of the specific qualifications.
Besides this they will be interviewed
by a panel consisting of a coor-
dinator, several tutors and occa-
sionally also students. During the
interview all kinds of questions are
put, hopefully not only by the panel;
during the day it is really meant to
determine if the candidate fits in
the department and if the department
fits the candidate, it is not an exam
in anyway.
Specific Admission requirements
Letter of motivation
In the letter of motivation candi-
dates describe:
/ their creative past (see also
portfolio);
/ forms of interactivity, media
and design they are interested
in;
/ techniques mastered;
/ software mastered (basic
knowledge of Adobe Photoshop
is a big plus. Some experience
of Adobe Illustrator, Adobe
InDesign, Flash, After Effects
is helpful.);
/ previous education;
/ what they want to achieve in
their studies;
/ general interest in culture,
society, communication,
technology at large;
/ specific interests in genres,
styles, other disciplines and
technology;
/ what they want to contribute to
the learning environment;
/ questions they have regarding
the study (reflecting an ability
to transform opinions into
questions; this is important
since exploration, research,
clear communication and
understanding are basic elements
in the program);
/ curriculum vitae (resume);
/ the new niche they want to
create in the design practice of
creative industries.
p.115
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Portfolio
In the portfolio candidates compre-
hensively describe earlier works,
performances, interactive, media or
design projects or other contribu-
tions to the field of communication.
Illustrated with photos, drawings,
reviews, etc. The portfolio may
be illustrated with recordings on
cd-rom, video DVD, audio cd, any
commonly used data carrier that works
on a modern computer or web links.
Candidates should mark a maximum of
3 minutes they absolutely want to
be viewed or heard by the selection
committee. General note: we recom-
mend to make a selection of a maximum
of three relevant projects. The best
project should always be the first
project to be shown. We would like to
receive (a selection of) your port-
folio by email together with your
letter of motivation. Make sure that
you do not exceed a maximum file size
of 5 MB per email. So when needed
send multiple emails, with a clear
subject and please number them. You
can, of course, also disclose your
portfolio online.
Official documents
A copy of your passport, a visa (when
applicable), a copy of your diplo-
ma(s), two passport photos and your
email address should be sent in or
taken to the interview. Note that
some of these documents could be
handed in later if not yet available
at this moment (visa, diploma etc.),
but should in any case be ready to
transfer at the moment of acceptance
to the academy.
2.7.4 Overview of the study-program
Interactive/Media/Design is offered
as a full-time program, which lays
the emphasis on research and self-de-
velopment. The courses are struc-
tured according a logical pedagogical
line of development, which does not
recognize very sharp boundaries; it
is unlikely that anyone would ever
be able to stop learning or would
disregard anything that is useful in
the development of one’s interest. It
is rather a fluently shaped scale,
allowing for acceleration of the
learning curve at almost any stage.
The structure of the program unfolds
into five major phases;
/ Skill development
/ (Advanced) Skill application
/ Research-development
/ Exploration of the professional
domain
/ Self-development
These phases are divided over the
four year program, but - as argued
before – do not always require a hard
cut in between them. For instance one
could imagine that whilst mastering
a certain skill, one could already
be working with another skill on
a much more advanced level at the
same time, or that as a result of
a particular research interest the
necessity arises to master yet
another skill-set. This is translated
into a certain clustering of courses
and leaves room (from the second
year on) for a fully personalized,
individual study-trajectory, which
allows for the in-depth exploration
of a specific field of interest. This
program (IST) needs to be constructed
by the students themselves and can
contain the development of an orig-
inal project in or outside the school
or could be filled by taking courses
in other departments or at Leiden
University, varying from very prac-
tical to the very philosophical.
The development of the competen-
cies through the five phases can be
divided over the three major domains
as follows:
Artistic Technical domain\
/ Skill development
/ (Advanced) Skill application
p.116
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Theoretical domain
/ Research-development
/ Self-development
Professional social domain
/ Exploration of the
professional domain
/ Self-development
Programme
Year 1 Propedeuse Skill development
In the first year students are intro-
duced to a range of skills and will
construct a set of mental models
which will allow them to get control
over the newly discovered domains
of this department. The goal is to
provide the student with enough
knowledge to be able to independently
produce media expressions using the
mastered skill-sets and lay the foun-
dation for the advanced development
of those skills. Many students have
a preferred medium they like to work
with and usually this selection is
made during this year. After having
successfully completed the first
year you will receive a diploma which
gives access to the second year,
but also allows to enter the second
year of similar programmes in terms
of requirements. The courses in the
first year are:
/ Concept Development
/ Interaction Design I
/ Moving Image I
/ Graphic Design
/ Art Theory
/ Visualizing
/ Sound Design
/ Connecting the Dots
/ Introduction into Science
/ Academiebrede Propedeuse
Projectweek (ABPP)
These courses can be roughly divided
over the three major domains as
follows:
Artistic Technical domain
/ Interaction Design I
/ Moving Image I
/ Graphic Design
/ Visualizing
/ Sound Design
Theoretical domain
/ Concept Development
/ Art Theory
/ Introduction into Science
Professional social domain
/ Concept Development
/ Academiebrede Propedeuse
Projectweek (ABPP)
/ Connecting the Dots
To give an example of one of the
courses, the detailed description of
Interaction Design 1:
How to create intelligent, respon-
sive media environments and shape
the two-way communication between
the human and the machine? What
factors are essential in the
design of interactive applications
appealing to our senses, triggering
emotions, influencing our behav-
iour and way of thinking? Interac-
tion Design focuses on mastering
elementary conceptual, visual and
technical skills required in many
interactive media productions. The
students work on projects based on
individual concepts, create their
own visuals and animations, but
mostly develop one of the most chal-
lenging and fundamental elements
underlying the structure of inter-
active systems – the code. Exercises
in scripting graphics, programming
feedbacks, coding interfaces are
p.117
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
evaluated in terms of beauty, func-
tionality, usability and other issues
related to user experience.
Year 2 (Advanced) Skill application and
Research-development
During the second year the emphasis
of the study shifts more towards
the application of the acquired
skill-sets and the development of a
more distinct personal interest in
a specific direction. This is also
the time to start the Individual
Study Trajectory (IST) which allows
to spend one day a week solely on
one topic or course. Obviously all
years are important, but the second
year is rather a special year in the
sense that it demands a much more
outspoken view on the why rather than
the how and what. This journey will
lay the personal foundation for the
rest of the study and is generally
not regarded to be very easy. After
all, it is not a light task to find
a way to identify your own strengths
and weaknesses and connect a set of
important decisions to that. But this
is not something one has to do alone,
guidance is integrated into the
course and there is also a special
guide for devising the individual
study trajectory. As writing is an
essential part of modern communica-
tion, a special course is designed
to improve the student capacities
to express themselves in the written
word, obviously using the English
language:
Writing Life is designed for students
to achieve fluency in the art of
written communication. English
language skills are essential to
reaching an international audience.
Much of today’s information, whether
through the internet or more tradi-
tional means is exchanged through the
written word. Although an artist’s
work is image based, written commu-
nication is required if she/he wants
people to gain a deeper knowledge
of their expertise. Through various
writing exercises, critique and
assignments covering commercial,
academic and creative writing, the
students will come away with knowl-
edge and skills that will give them
confidence in world of written inter-
action.
The courses in the second year are:
/ Interactive Architecture / 3D
/ Interaction Design II
/ Moving Image II
/ Photography
/ Writing
/ Individual Study Trajectory
/ Connecting the Dots
These courses can be roughly divided
over the three major domains as
follows:
Artistic Technical domain
/ Interaction Design II
/ Moving Image II
/ Photography
Theoretical domain
/ Connecting the Dots
/ Writing
Professional social domain
/ Interactive Architecture / 3D
/ Individual Study Trajectory

Year 3 Research, self-expression and
exploration of the professional domain
The third year consists of two very
different parts, the first semester
is devoted to the critical reflec-
tion of all that has been acquired in
knowledge and skills and the second
semester is reserved for the execu-
tion of the internship. The courses
in the first semester aim to connect
the personal, creative development
to the possibilities and demands
p.118
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
of the outside world, not only as
a preparation for the internship,
but also to reflect on trends and
overly celebrated gadgetry as being
almost circumstantial, rather than
essential. The internships vary in
execution; there have been highly
commercial jobs in very competitive
International environments but also
fully research driven ecological
awareness programs for large Interna-
tional non-profit organisations - and
everything in between – yet all have
in common that they we perceived as
very satisfying collaborations, which
in some cases even directly led to a
job offer. The critical standpoint is
clearly reflected in this course:
Critical Media;
Engage critically with contemporary society.
The Critical Media Course has the
ambitious goal of critically exam-
ining contemporary society. Such
critic can only be honest and
prolific when based on introspection.
The students of Interactive, Media,
Design are proposed to first and
foremost revise in a critical manner
their working methodology, together
with their sources of information and
inspiration. Grounded on the impor-
tance of information and knowledge
for contemporary society, questions
of control and power are fundamental
to understand and engage actively
in society. “Who controls the infor-
mation flow?” and “How is knowl-
edge produced and distributed?” are
questions that are discussed in this
course based on insights from contem-
porary philosophers and thinkers such
as Noam Chomsky and Jean Baudril-
lard. Once critical thinking has been
seeded, the next step is to point
creative experiments that are busy
with the exposed questions. Tactical
media and hacktivism are two possible
approaches that include art organ-
izations like “The yes men”, Jodi,
HeHe, Ubermorgen and art project
like “Google will eat itself”,
“Image Fulgurator” and “anti-so-
cial networking”, etc. Finally and
most importantly, during the course,
critical projects are developed in
order to experiment and test some of
the concepts discussed. The course
ends with a public event where the
outcomes are discussed with a larger
audience.
The courses in the third year are:
/ Writing Life
/ Multimedia Artistic Development
/ Cultural Hacking
/ ALEPH
/ Internship
/ Workshop 3D
These courses can be roughly divided
over the three major domains as
follows:
Artistic Technical domain
/ Individual Study Trajectory
Theoretical domain
/ Writing Life
/ Multimedia Artistic Development
/ Cultural Hacking
/ ALEPH
Professional social domain
/ Internship
/ Workshop 3D

Year 4 Self expression
The final year of your studies will
provide many moments of excite-
ment and joy, but obviously demands
also a long period of hard work and
many difficult decisions need to be
made. The final exam is not only the
closure of your studies, but (equally
important) the start of your career
as an interactive media designer. The
academy takes much pride in organ-
ising the exposition of the final
work because it is very aware this
could be the catalyst for the indi-
p.119
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
vidual designer to distinguish him or
herself in the professional field.
During the final year, there are
several important issues to address
and boxes to be ticked. You have to
produce a thesis, which researches
a field of your interest, which is
closly related to your final exam.
You will also have to produce a busi-
ness plan, assuring that you will
have been properly introduced in the
field of the legislative and finan-
cial side of your practice as (inde-
pendent) designer. And of course you
will have to produce a spectacular
and innovative venture, which will
serve as your graduation project. In
order to ensure that you will have
all the attention directed towards
this you will be guided by several
experts. During individual and/or
collective meetings you will gradu-
ally progress to the final stage; the
exhibition of final exams.
The courses in the fourth year are:
/ Senior Seminar
/ Exam and Concept Guidance
/ Thesis
/ Business plan
/ Individual Study Trajectory
/ Final Exam
Artistic Technical domain
/ Concept Development 3
/ Interactive Architecture
Theoretical domain
/ Thesis
Professional social domain
/ Business plan

2.7.5 Educational- and professional goals
Interactive / Media / Design does
not focus on a particular medium,
the development of conceptual and
theoretical skills is just as impor-
tant as the development of practical
skills. The program offers these core
values by applying a point of depar-
ture which rest on three specific
parameters:
/ Integrated Theory: Apart from
the clearly theoretical driven
courses (like Art Theory), most
courses have an integrated
theoretical component. This
means that skills are not
presented without their
context and history, personal
development is connected to
larger systems in society and
methods are always critically
tested. This ensures that all
students gain a built-in layer
of theory, which they cannot
always identify, but will become
visible once they start to
put their accomplishments in
practice.
/ Intrinsic professional bounding:
Intrinsic bounding with the
professional practise is reached
through the expertise and
connectedness of our teaching
staff. Almost all staff-members
have their own professional
practice and they will connect
the practice of the actuality
as much as they can to the
educational goals. This leads to
a very high percentage of actual
case-studies with which the
students can work and several
integrated projects have been
undertaken in collaboration with
the professional-field.
/ Self-development: Although
Interactive / Media / Design is
a department that specifically
operates in the realm of design,
we are very much aware of the
opportunities given by the fact
that we are part of an art
academy, as opposed to a being
embedded in a more technical
setting or being part of a very
skills driven environment. We
p.120
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
take the legacy of the fine
arts tradition very seriously
and strive to embrace a total
conceptual freedom, although
the products produced might be
designed out of a concrete and
pragmatic brief. In order to
be able to fully address the
individual students potential,
we invest much time in the
development of the artistic and
conceptual qualities of the
students.
Within the three major domains in
which students will master their sets
of competencies, Interactive / Media
/ Design has attached some specific
qualification to the deployment of
their key values.

Artistic Technical domain
As argued, the development of the
artistic domain as a ‘freestanding’
quality is regarded as highly valu-
able at our department. From the very
start we engage an open and construc-
tive dialog with our students. In
this specific field, where we cannot
be sure of the effects of new devel-
opments, we believe it is instru-
mental and essential to maintain an
open vision in which the (practical)
research done by all participants
(scholars, lecturers and students)
delivers crucial information which
contributes to the better under-
standing of future developments, both
in the practical, as well as in the
artistic domain.
Theoretical domain
The integrated intake of theoretical
components through the application
in and attachment of these notions
to very concrete course goals, sets
the ground for a fundamental under-
standing of the need to contextualize
the work and leads to the investi-
gation of one’s own position in this
field of labour. Theoretical intake
cannot be seen separated from its
application, theory and practise are
confined to each other. By deliber-
ately steering away from the clas-
sical models of theoretical input, we
strive to prevent the ‘airlock’ which
occurs when the connection between
theory and practise is not made clear
and theory is ‘superimposed’ on the
reality of practice, rather than been
made elementary part of.
Professional social domain
Modern designers cannot afford to
take a fully soloistic attitude; the
professional domain brings a wide
variety of collaborations and hybrid
forms of authorship. By the intrinsic
insertion of haptic, virtual
and actual communication and by
constantly working with real commis-
sions and projects, we endeavour
linking our students to the emerging
network of co-designers and profes-
sionals which is quintessential for
the design industry. Students start
building the valuable networks which
will prove to be economically essen-
tial in their career from the first
day they enter the academy, we help
them understand the importance of
that and support any kind of expan-
sion by connecting and interlinking
networks of all involved; inside and
outside the academy.
p.121
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
4.6.6 Organisation of the department
The coordinators have the responsi-
bility for the department’s policy
and all aspects which are directly
connected to this policy. The staff
reflects the content of the depart-
mental policy and a broad profes-
sional set-up. A large number of the
staff is employed in the professional
field, where they work individually
or collectively. By confronting the
students with a wide variety of indi-
vidual viewpoints and values, they
will develop a positive yet crit-
ical stance towards the profession.
Specific knowledge is offered in the
form of Master classes, workshops and
attending conferences.
I/M/D can be reached through:
[email protected]
Coordinators:
In charge of content:
Marc Boumeester
[email protected]
In charge of organisation:
Dave Wille
[email protected]
Lecturers (in alphabetical order):
Anna Arov
Marc Boumeester
Arthur Elsenaar
Maartje Fliervoet
Johan Gustavsson
Guy Hafkamp
Michael van Hoogenhuyze
Jonathan Looman
Remus Ockels
Gitta Pardoel
Pawel Pokutycki
Shayna Schapp
Jan Treffers
Raymond Taudin Chabot
p.122
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
p.123
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.7.6 Total overview of qualifications

QUALIFICATIONS PROPAEDEUTIC YEAR MAIN PHASE, YEAR 2
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
p.124
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
QUALIFICATIONS MAIN PHASE, YEAR 3 MAIN PHASE, YEAR 4
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to develop an inno-
vative concept arising from your
artistic ambition and research,
elaborate it into a distinctive
image, product, means of commu-
nication or spatial design, and to
contextualize it in a meaningful
way.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to consider, analyse,
interpret and assess your own and
others' work, and are capable of
constructively considering your
findings in relation to your own
work.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to further develop
your vision, work and working
methods in breadth and depth
through an ongoing process
of research, and in this way
contribute to your discipline and
to society.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to establish and
maintain an inspirational and
functional working environment and
to organize your research, work and
practice.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to effectively present
your vision, research and work and
engage in a dialogue with clients
and other interested parties.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to relate your
artistic practice to the artistic
and social context.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to make an independent
contribution to a collaborative
product or process.
p.125
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
INTERACTIVE/MEDIA/DESIGN FULL-TIME
Year 1 2 3 4
Semester 1 2 3 4 5 6 7 8
Visualising 5 5
Sound Design 5
Interaction Design 6 6
Graphic Design 5 5
Moving Image 6 6
Photography 6
Workshop 6
Interactive Architecture 6
End exam projects 12 18
Academy-wide propaedeutic year
project week
1
Ideas in Reality 4
Creative Leadership 6
Internship 24
Business Plan 6
Concept Development 6 6 6 6
Conceptualisation 6 6
Writing Life 6 6
Critical Media 6
Theory: thesis 6
Research and Discourse 3 3
Individual Study Trajectory (IST) 6 6 6 6 6 6
Total 30 30 30 30 30 30 30 30
EC after individual assessment 24 24 24 24 24 24 24 24
EC after collective assessment 6 6 6 6 6 6 6 6
2.7.7 Study points overview
1st year: Due to the changed Research & Discourse programme minor adjustments of the EC is a possibilty.
p.126
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
2.8 Textile & Fashion
2.8.1 General description of the discipline
Please note: at the KABK, the
specialisations textile design and
fashion design are represented in
one programme. However, they each
hold their separate place in the
programme, to provide students with
the possibility to graduate in either
fashion design or textile design.
History of the discipline
Textile has always been, and still
is, an important expression of
culture and zeitgeist. The dictionary
defines textile as ‘a cloth, espe-
cially one manufactured by weaving
or knitting; a fabric’. Initially,
climate and weather circumstances
gave textile a primarily protective
function.
Origins, community and tradition in
textile form are global points of
recognition. One can easily learn
about important events, personal
histories and lifestyles throughout
history from textiles. Textile also
reflects recognition, acknowledg-
ment and status. Wealth, vision and
aesthetics are strongly expressed
by textile and party influence the
behaviour and values of a culture.
The influences from a rich history of
textiles are an important source of
inspiration for a textile designer.
Textile as a status symbol and trade
has evolved in such a way over time,
that the two have become inseparable.
Fashion, the phenomenon of an ever-
changing taste in clothes, did not
originate until in the Renaissance
according to some, while others say
it came into being at the court of
Louis XIV, where the mistresses of
the French court started to decide
what was fashionable. The real
breakthrough came in nineteenth
century with the emergence of the
bourgeoisie, the acceptance of the
Enlightenment and the appointment of
concepts of individuality and person-
ality as central to modern culture.
Charles Frederick Worth (1825-1895),
the Englishman and founder of French
haute couture, is considered to be
the first couturier. After seven
years of training in the London
textile industry, he arrived in Paris
as a 20-year-old fashion designer.
Worth was the first fashion designer
who grew to stardom because he gave
his garments artwork status. Further-
more, he presented a new collection
every year, with which he established
the sales-enhancing constant renewal
of fashion, from which designers
still profit today. He designed the
artificial crinoline, the ‘cul de
paris’, and several cutting tech-
niques without which the fashion
history would not be the same today.
Worth was the first designer to
combine an English cutting technique
with French glitter and glamour.
Current situation of the discipline
‘Fashion is a temporary transient,
but at some time generally assim-
ilated, social or artistic custom,
particularly of clothing and attire’
(dictionary definition). Fashion
demonstrates its approaches to
time and history in a specific way.
Fashion design can therefore be
described as a visual expression of
a period, as a reflection of society
and as a form of communication
through the language of clothing.
Those involved in fashion, especially
fashion designers, will therefore
constantly question the ethics and
aesthetics of fashion. By exploring
the boundaries of the discipline,
designers are encouraged to find
innovative forms, new colour combi-
nations and ways of processing or
developing new fabrics.
A fashion designer has a natural
interest in the unknown and the new.
Each season he re-invents himself
and creates a new system of mean-
ings. Textile design is a discipline
that is explored both autonomously
and in relation to associated disci-
plines. It is equally essential that
the designer finds a personal balance
p.129
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
between the textiles and the time
period. The urge to communicate by
means of materials, craft and tradi-
tion through form and structure keeps
evolving, whether or not connected
to form, dimension and content.
Fashion, and textile by association,
has become an international language.
Fashion designers use the semiotics
of clothing to extend boundaries and
to experiment with identities and
appearances.
2.8.2 Study profile
Contemporary professional practice:
the professional profile
Below is the description of the
professional profile on which the
study programme Textile & Fashion at
the KABK is based.
Textile designers and fashion
designers have a natural interest in
the new and unknown. They have that
‘visionary’ talent, which can also
be observed in visual artists, that
seems to enable them to predict what
the future will look like and what
an industry will need. This implies
that the designer is aware of the
time period and society, and that he
is able to think and act interdisci-
plinary. This presupposes a flexible
attitude, because in order to keep
afloat in this evolution, designers
have to keep re-inventing them-
selves. The field has laid down rules
concerning research, visualisation,
visual language, execution, pres-
entation, professional demeanour and
potential possibilities for growth.
In order to guarantee the evolu-
tion, growth and expansion of their
work and the discipline, individual
designers must be able to apply,
manipulate and help determine these
rules.
Fashion designer
A fashion designer demonstrates a
broad and general interest and shows
social involvement. He is interested
in sociology, anthropology, semi-
otics, psychology and visual culture,
which provide him with a sufficient
artistic, practical and theoretical
framework with which to develop his
own views and create an authentic
image in the form of a collection.
Textile designer
A textile designer has to be able to
develop a personal view and image
for independent spatial textile
works related to the time period. The
development and processing of mate-
rials and forms in relation to their
surroundings is equally important.
This can concern the beautifying
an interior, clothing, industrial
needs, product development or auton-
omous expression. Textile designers
provide answers to questions posed
by society and those that arise in
the areas of technology, art and
fashion. Additionally, textile design
is the translation of a feeling about
surface and/or the manifestation of
form in relation to space.
Description of the programme
Students are educated to become
textile or fashion designers. Unique
at the KABK is the fact that the
specialisations textile design and
fashion design are represented in
one programme. However, they each
hold their separate place in the
programme, to provide students with
the possibility to graduate in either
fashion design or textile design.
In 2003, the specialisations were
completely restructured according to
the model of the fashion department
at the Royal Academy of Fine Arts in
Antwerp.
The aim of the programme is to
train students to become independent
designers. Students are encouraged
to develop their own personal view
and signature, for which they have
to create a relevant balance between
the fashion and textile aspects in
their work, and show the ability
to interconnect these aspects. The
designing of a collection is central
to the programme. The programme does
p.130
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
not have one singular perspective as
its point of departure; it rather
confronts students with the past,
the present and the future. From
these perspectives students exten-
sively analyse fashion and textiles.
For example, in assignments much
attention is paid to the history of
costumes and folklore.
The programme is designed in such
a way, that at a certain point the
textile and fashion specialisa-
tions separate into two different
programmes, which are shaped by
characteristics of each respective
specialisation. The Textile & Fashion
department focuses on innovation,
experimentation, improvisation,
analysis, reflection and insight.
By exploring the boundaries of the
discipline, students are encouraged
to search for innovative forms, new
colour combinations and ways of using
or creating new materials. A diverse
offer of courses stimulates students’
interest in the new and unknown
(characteristic of the fashion and
textile designer), including art
history, costume history, fashion
and visual development. Drawing is
an important part of the curric-
ulum. Through observational model
drawing, students learn to observe
and analyse, develop their artistic
talents and qualities, design and
communicate.
Final qualifications Textile & Fashion
The graduate meets the following
final qualifications:
/ You are able to develop an
innovative concept arising
from your artistic ambition
and research, elaborate it
into a distinctive image,
product, means of communication
or spatial design, and to
contextualize it in a meaningful
way (creative ability)
/ You are able to consider,
analyse, interpret and assess
your own and others’ work, and
are capable of constructively
considering your findings
in relation to your own
work (capacity for critical
reflection)
/ You are able to further develop
your vision, work and working
methods in breadth and depth
through an ongoing process
of research, and in this way
contribute to your discipline
and to society (capacity for
growth and innovation)
/ You are able to establish
and maintain an inspirational
and functional working
environment and to organize
your research, work and practice
(organizational ability)
/ You are able to effectively
present your vision, research
and work and engage in a
dialogue with clients and
other interested parties
(communicative ability)
/ You are able to relate your
artistic practice to the
artistic and social context
(external awareness)
/ You are able to make an
independent contribution to a
collaborative product or process
(capacity for collaboration)
Diploma
Graduates are awarded a Bachelor of
Design (BDes) in textile or fashion
design.
Post-graduate studies
After receiving their Bache-
lor’s degree in fashion or textile
design, graduates can enrol in a
master’s programme in in fashion or
textile design (M Design). In these
post-graduate studies the emphasis
can be on the design of textile
collections for the fashion and/or
interior design industry, textile
application for products, concept
development, product styling and so
on.
p.131
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Admission procedure
Applicants can find information about
the programme on the KABK website.
Those who wish to apply can register
with the student administration for
an entrance examination and provide
the appropriate documents. The candi-
date will then receive an invitation
for the selection day and is asked to
bring the following:
/ portfolio;
/ own work;
/ sketch books;
/ collections;
/ subjects or images that relate
to his own fascinations.
During the selection day the candi-
date is shortly introduced to the
programme and will take part in:
/ a practical test (morning);
/ a drawing test (afternoon);
/ an interview based on partly
on the candidate’s portfolio
and work.
The candidate is informed whether he
has been accepted or not within two
weeks of the selection day.
Specific admission requirements
During the selection day, the candi-
date will be assessed with various
methods on a number of aspects.
The drawing test provides information
about:
/ the ability to observe;
/ dexterity;
/ drawing skills;
/ visual skills;
/ insight;
/ perseverance;
/ personal approach;
/ personal signature.
The discussion of the portfolio
provides:
/ insight into personal interests;
/ information about the
candidate’s environment and way
of thinking;
/ information about the
candidate’s dexterity and/or
sensitivity to materials;
/ insight into candidate’s ability
to organise and initiate.
The emphasis is on the student’s own
work (sketchbooks, notes, collec-
tions) that have been made inde-
pendent of an assignment or school.
The candidate’s answers during the
interview illustrate his:
/ personal interests;
/ ability to reason;
/ general knowledge;
/ knowledge of art, history,
culture, textiles, fashion,
architecture, etc.;
/ motivation;
/ ambition;
/ personal goals.
The written motivation provides:
/ information about the
candidate’s ambition and
passion;
/ insight into the ability to
communicate in words.
2.8.3 Study programme
overview full-time
The study duration is four years.
Completion of the first year (the
propaedeutic year) entitles students
to continue in the main phase of the
programme. Completion of the second
and third year subjects entitles
students to enter the final phase,
which consists of finishing an
internship, a thesis and the gradua-
p.132
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
tion project: the collection (final
phase).
Students make a definite choice
between the specialisations textile
design or fashion design for the
second, third and forth year, no
later than the beginning of the
second year.
/ Textile and Fashion Design, year
1 (propaedeutic year)
/ Textile Design year 2 (main
phase) or Fashion Design year 2
(main phase)
/ Textile Design year 3 (main
phase) of Fashion Design year 3
(main phase)
/ Textile Design year 4 (final
phase) of Fashion Design year 4
(final phase)
The various programme components are
clustered as follows:
/ Design I: Textile Design,
Fashion Design
/ Design II: Technical design
- Textile, Technical Design -
Fashion
/ Visualizing: Visual Development,
Photography
/ Drawing: Model Drawing, 2D Forms
and Colour Studies, Fashion
Drawing
/ Theory: Art history, Fashion
Theory, Thesis
/ Other: Internship, Individual
Study Trajectory
Propaedeutic year
Textile & Fashion Year 1
/ Design I: Textile design and
Fashion design
/ Design II: Technical design -
Textile, and Technical design -
Fashion
/ Visualising: Visual Development,
Photography
/ Drawing: Model Drawing, Fashion
Drawing, 2D Forms and Colour
Studies
/ Theory: Introduction to General
Art History, Introduction to
Science, Art History and Fashion
Theory
Main Phase
Textile Design Year 2 (main phase)
/ Design I: Textile design
/ Design II: Technical Design -
Textile
/ Visualizing: Visual Development,
Photography
/ Drawing: Model Drawing, 2D Forms
and Colour Studies
/ Theory: Art history, Fashion
Theory
/ Other: Individual Study
Trajectory
Fashion Design Year 2 (main phase)
/ Design I: Fashion design
/ Design II: Technical Design -
Fashion
/ Visualizing: Visual Development,
Photography
/ Drawing: Model Drawing, 2D Forms
and Colour Studies, Fashion
Drawing
/ Theory: Art history, Fashion
Theory
Textile Design Year 3 (main phase)
/ Design I: Textile design
/ Design II: Technical Design -
Textile
/ Visualizing: Visual Development,
Photography
p.133
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ Drawing: Model Drawing,
2D Forms and Colour Studies
/ Theory: Art history,
Business Plan Writing
/ Other: Individual Study
Trajectory
/ Fashion Design Year 3
(main phase)
/ Design I: Fashion design
/ Design II: Technical Design -
Fashion
/ Visualizing: Visual Development,
Photography
/ Drawing: Model Drawing,
Fashion Drawing
/ Theory: Art history, Fashion
Theory, Business Plan Writing
/ Other: Individual Study
Trajectory
Final phase
In the final phase of the study
programme, external assessors from
the field are invited to the depart-
ment of Textile & Fashion. Some of
their important responsibilities
include taking a critical look at the
design process, reading the thesis,
attending the ‘walk-through’ and
concept evaluation, and the final
evaluation of the presentation of the
collection.
The interaction between students and
the external assessors helps students
to better attune their final results
to the situation in the professional
field. Students measure their results
against the external professional
context. The final evaluation of the
final phase is one of the impor-
tant parts of the career prepara-
tion. The presentation of the textile
and fashion collections is held at
various locations in the city (a
simulation of professional routes in
Paris, Milan and New York). Students
complete the final presentation by
adding their own surroundings or
context and by directing the pres-
entation themselves.
By following an organised textile and
fashion route, the members of the
final examination committee evaluate
the graduation candidates and their
collections. This route also offers
the students the opportunity to
display their work to the press and
a large audience. The second phase of
the evaluation is the general textile
exhibition and fashion show organised
by the KABK.
Textile Design Year 4 (final phase)
/ Design I: Textile design
/ Design II: Technical Design -
Textile
/ Visualizing: Visual Development,
Photography
/ Drawing: Model Drawing
/ Theory: Thesis
/ Other: Individual Study
Trajectory, Internship
/ Fashion Design Year 4 (final
phase)
/ Design I: Fashion design
/ Design II: Technical Design -
Fashion
/ Visualizing: Visual Development,
Photography
/ Drawing: Model drawing
/ Theory: Thesis
/ Other: Individual Study
Trajectory, Internship
2.8.4 Educational and professional
objectives
The basic structure and objectives of
the study programme are outlined per
study year. They are strictly focused
on the completion of the final goal
(the collections), which should serve
the students as a guide towards an
individual and personal final pres-
p.134
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
entation. This basic structure can be
divided into four phases and is stim-
ulated and guided by teachers from
their own specific domain.
Artistic technical domain

Propaedeutic year: orientation in the
professional field
The propaedeutic year is primarily
aimed at the orientation of the
profession of both the textile and
fashion designer. The control and
knowledge of materials, techniques
and visual images are developed
throughout the entire period of study
and are an important point of depar-
ture of the programme. This intro-
ductory phase offers a wide range
of supporting subjects that develop
techniques and professional knowl-
edge, and which, together with visual
development, form the necessary foun-
dation for concept development and
the shaping of the design process.
All the elements needed to initiate
the study process are included in
the propaedeutic year and are the
operating base for the further study
process.
At the end of this year, students
present, together with the results
of all clusters, a mini-collection
of three outfits (a skirt, dress and
trench coat) and three textile works
in relation to textile books.
Second year: historical and social research
In the second year of the programme,
historical and social research is
added to the study process in the
form of the student’s individual
collection.
The student selects a historical
costume and uses this historical
period as a guideline, a source of
inspiration and analytical tool to
design a contemporary, personal
style in the form of a collection.
At the end of the academic year, the
students present, in combination with
the cluster results, a replica of
the historical costume and a coherent
collection of four outfits or four
textile works in textile inspired by
the costume.
Third year: delving into the diversity of
population groups
After having acquired historical
knowledge, third-year students will
expand their views and further extend
their knowledge of the large diver-
sity of population groups. These
insights into personal ethnic and
cultural characteristics serve as a
guideline, source of inspiration and
analytical tool to design a contempo-
rary, personal style in the form of a
collection.
At the end of the third year, the
students present, in combination
with the cluster result, a replica
of the ethnic costume or object and
a coherent collection of six outfits
or six textile works that have been
inspired by the costume.
Graduation year: individual collection
In the final phase of the study, a
synthesis of the student’s personal
development is made in the form of an
individual collection and a relating
thesis. The emphasis in this last
phase is primarily on the individual
and autonomous creative process and
the personality of the designer in
training. The subject and the source
of inspiration serve as a guideline
in creating a contemporary image at
the hand of the student’s personal
blueprint and signature. In the final
year students present, together
with the cluster results, a coherent
collection of ten outfits or eight
textile works.
Walk-through and concept discussion
This is the presentation of a
‘collection’ to a team of lecturers
(analogous to a presentation in the
business world or of an independent
designer working alone or in a team).
Technical design - Textile: the
materialisation and realisation of
designs, the application of tech-
p.135
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
niques, the preparation and creation
of the intended final result are
further explored and developed. In
addition, students work on developing
their own style, methods and char-
acter; in short, all of the aspects
of the area of textile are addressed.
Knowledge of textiles is extremely
important for the textile designer.
During their education students must
master all the possible techniques
and applications necessary to create
his designs.
Technical design - Fashion: the
ingredients of this part of the study
programme include gaining insight in
the study of form, gaining knowl-
edge of patterns, moulding, draping,
modelling, machines and materials,
converting a two-dimensional image
into a three-dimensional form, exper-
imenting with all possible techniques
and finishing touches of use in the
execution of a design or piece of
clothing, gaining skills related
to the profession, such as sewing,
taking measurements and fitting.
The education of the fashion designer
involves a large number of technical
skills that are necessary to work
professionally and to develop a crea-
tive idea into a product.
Supporting courses
Visual development
The main aim of this study component
is the development and personalisa-
tion of an authentic blueprint and
individual visual language. In this
course, the student learns to inde-
pendently develop images and solidify
them. Personal orientation in rela-
tion to photography and visual devel-
opment is applicable here. Students
learn to transform research, experi-
ments, ingenuity, creativity, obser-
vations, knowledge, intuitions and
emotions into an image.
This visual analysis will support
students in their development of
the individual collection and their
views. They also learn to apply
knowledge and insights to communi-
cate the various meanings of images,
forms, materials, relationships and
colours. The various layers of the
manifestation of forms are thoroughly
researched.
From the third year onwards, students
develop their individual style, a
book of collections and a portfolio
for various ends, such as an intern-
ship, the press, competitions and job
applications.
Photography
Photography teaches students in the
first place how to look and, later,
also how to visualise. The next step
is interpretation. This means that
the student is trained in developing
an idea into an image through obser-
vation.
Model drawing
Students draw both live models and
still lives. They observe, discover
and document proportions in combina-
tion with technique and the develop-
ment of a personal drawing style. The
students’ powers of observation are
strengthened and developed, with an
emphasis on the discovery and docu-
mentation of proportions.
2D forms and colour studies
In this subject the relationship
between line, colour and surfaces is
explored. Students receive supervi-
sion in the development and experi-
ence of their talents is developed
by means of experiments and with the
help of materials, structures and
colours. Students work towards a
personal signature, to learn how to
document impressions and emotions,
and to search for their own expres-
sion in two-dimensional forms and
colours.
Theoretical Domain
Art history
All students at the academy need a
solid theoretical base. This does
p.136
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
not only imply knowledge, but also
insights into the history, para-
digms, theories, processes and so on,
which are related to the student’s
discipline and to other disciplines,
to the extent that they contribute
to the student as a person and a
designer. A basic knowledge of art
history and philosophy is essential
to meaningfully substantiate the
textile and fashion design profession
in the general framework of artistic
development.
Fashion theory
Fashion theory addresses the rela-
tionships between fashion and
society, fashion and context, and
fashion and culture. Students are
introduced to the social and substan-
tial functions and relevance of
fashion. The course is an orien-
tation on surroundings, society,
behaviour and standards in relation
to the fashion trends. In addition,
students develop a critical attitude
towards fashion trends and fashion in
general. Students are given a chron-
ological overview of the history of
Western costume and clothing history
and research the relation between
lifestyle, crafts and techniques.
Thesis
When starting the final year,
students have knowledge of the most
important developments in art and
design. They are able to reflect,
undertake independent research and
present their findings verbally and
in writing. In this study compo-
nent each student is individually
supervised in the completion of
the programme with a thesis that
is relevant to the work, that has
substantial depth and that provides
insight into the student’s views and
opinions about art and design in a
contemporary and historical context.
Students are also expected to provide
a written explanation of the work for
their final examination with a core
description of themes and stand-
points.
Professional social domain
Professional development:
The final assessment in the final
phase also heralds the completion of
the career preparation. The pres-
entation of the textile and fashion
collections takes place at various
locations in the city (a simula-
tion of the professional route in
Paris, Milan and New York during the
fashion weeks). Students complete
the final presentation by adding
their own surroundings or context
and by directing the presentation
themselves. By following an organ-
ised textile and fashion route, the
members of the final examination
committee evaluate the graduation
candidates and their collections.
This route also offers the students
the opportunity to display their work
to the press and a large audience.
The second phase of the presentation
evaluation is the general textile
exhibition and fashion show organised
by the KABK.
/ Synthesis of design procedure
with signature (total collection
of ten textile designs/outfits)
/ Internship
/ Development of personal style
(image)
/ Completion and solidifying the
portfolio
/ Development of general style
(textile and fashion route)
/ Prepare to collaborate with
external agencies (graphic
design agency, model agency,
etc.)
/ Prepare the individual
presentation and reception
(showroom)
/ ‘Textile and Fashion route’
/ Prepare the general graduation
show/exhibition
p.137
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Propaedeutic Year
Assignment
/ Design and create, on the basis
of preliminary studies, a dress,
skirt and trench coat in a given
theme. Present in a suitable
context and/or background.
Design and create, on the basis
of preliminary studies, textile
books with a personal signature.
/ Design and create, on the basis
of preliminary studies, textile
books with a personal signature.
Design and create, on the basis
of preliminary studies, a dress,
skirt and trench coat in a given
theme. Present in a suitable
context and/or background.
Courses
All scheduled courses serve the
purpose of creating an individual
collection. Students are given addi-
tional assignments and tasks in the
different courses.
/ Design I: Textile design and
Fashion design
/ Design II: Technical design -
Textile, and Technical design -
Fashion
/ Visualising: Visual Development,
Photography
/ Drawing: Model Drawing, Fashion
Drawing, 2D Forms and Colour
Studies
/ Theory: Introduction to General
Art History, Introduction to
Science, Art History and Fashion
Theory
Propaedeutic year competences
The competencies for the propaedeutic
year are:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information.
/ Creative ability: the student
can create new work in which he
explores new methods based on the
experiences and insights he has
gained through the programme.
/ Capacity for critical
reflection: the student is able
to reflect on his work and
can evaluate its quality and
effectiveness.
/ Capacity for growth and
innovation: the student
demonstrates the will to make
new discoveries and acquires new
knowledge, skills and insights
and is able to apply them on a
theoretical and practical level;
the student is driven, curious
and investigative.
/ Organisational competence: the
student can organise his own
work process and is able to
document and archive his work.
/ Communicative competence: the
student is able to substantiate
his choice for, and deployment
of, resources, materials and/or
visual solutions.
/ Situational awareness: the
student shows a broad interest
in social, sociological and
cultural developments and is
able to distinguish different
visions of design.
/ Collaborative competence: the
student can achieve his own
goals while collaborating with
others.
Main Phase / Year 2
Assignment
/ Research and create a replica
of a historical costume with
preliminary studies as practice
in form and style. The replica
must be in white and the
materials should be faithful to
the original. The costume must
be presented in the appropriate
context and with a correct
p.138
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
casting.
/ Design, create, on the basis
of preliminary studies, and
present a collection of four
fashion outfits or four works
in textiles. The self-chosen
historical theme is the starting
point, theme and source of
inspiration.
Courses
/ Design I: Textile design or
Fashion design
/ Design II: Technical design -
Textile, and Technical design -
Fashion
/ Visualizing: Visual Development,
Photography
/ Drawing: Model Drawing and
2D Forms and Colour Studies,
or Model Drawing and Fashion
Drawing
/ Theory: Art History, Fashion
Theory
/ Other: Individual Study
Trajectory
Competences year 2
During this phase of the study
students should master the following
competences:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information.
/ Creative ability: the
student can methodically and
organisationally research and
develop his own idea.
/ Capacity for critical
reflection: the student is able
to reflect on his own work and
that of others, and can evaluate
its quality and effectiveness.
/ Capacity for growth and
innovation: the student can make
use of newly acquired knowledge,
skills and insights, and the
criticism of others to advance
the development of his work.
/ Organisational skills: the
student is able to prioritise
and time-effectively manage his
work process.
/ Communicative skills: the
student can interpret an
assignment and express it in
word and image.
/ Situational awareness: the
student refers to social and
cultural resources to formulate
a precise hypothesis for his
work, and he can name the target
audience of his work.
/ Collaborative skills: the
student is able to collaborate
with others and can apply his
talents and those of others to
benefit the collaboration.
Main Phase / Year 3
Assignment
/ Research and create a replica of
an ethnic costume and/or object
including preliminary studies.
The replica and the materials
are completely faithful to the
original with regard to both the
suggested colours and materials.
The costume will be presented
in the appropriate context,
surroundings and with suitable
casting.
/ Design, create, including
preliminary studies, and present
a collection of six fashion
outfits or six textile works
with as point of departure
and inspiration a self-chosen
folklore theme.
Courses
/ Design I: Textile design or
Fashion design
/ Design II: Technical design -
Textile, and Technical design -
Fashion
p.139
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ Visualising: Visual Development,
Photography
/ Drawing: Model Drawing and
2D Forms and Colour Studies,
or Model Drawing and Fashion
Drawing
/ Theory: Art History, Fashion
Theory, Business Plan Writing
/ Other: Individual Study
Trajectory
Competences year 3
During this phase of the study
students should master the following
competences:
These competences are under construc-
tion, please refer to the website for
the most up-to-date information.
/ Creative ability: the student
is able to formulate a design
problem and employ research to
find a solution.
/ Capacity for critical
reflection: The student can
relate his work to developments
in the field in a cultural and
social context and define his
position.
/ Capacity for growth and
innovation: the student develops
a personal vision on design from
an open attitude.
/ Organisational skills: the
student can create a balance
between design-related,
facilitating and production-
related activities.
/ Communicative skills: the
student is able to convincingly
present and explain his own work
(methods).
/ Situational awareness: the
student is able to connect his
own work to that of others, and
his own work to the public; the
student can adequately address
his target groups with his work.
/ Collaborative skills: the
student can purposely place
himself in the work process
in different roles and with
different responsibilities.
p.140
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Final Phase / Year 4
Assignment
Comprehensive collection, including
preliminary studies:
Design, fully create and present a
comprehensive image, in an appro-
priate context and with suitable
casting, of a collection of ten
fashion outfits or ten textile works
based on a individually chosen,
well-substantiated theme.
Courses
/ Design I: Textile design or
Fashion design
/ Design II: Technical design -
Textile, and Technical design -
Fashion
/ Visualising: Visual Development,
Photography
/ Drawing: Model Drawing
/ Theory: Thesis
/ Other: Individual Study
Trajectory, Internship
Competences final phase
The competences of the final phase
correspond to the final qualifica-
tions of the study.
2.8.5 Department organisation
The head of department is respon-
sible for the department’s policy and
all aspects related to this policy.
The team of lecturers reflects the
content of the programme and its
professional set-up.
With the exception of some, all
teachers have a professional practice
and work either independently or in
a team. Because of the diversity in
experience and expertise, the student
is confronted with numerous aspects
and approaches of the discipline.
Specific knowledge of the profes-
sional practice is offered by means
of guest lectures.
Head of Textile & Fashion department
Erik Verdonck,
[email protected]
Coordinator
Gerrit Uittenbogaard
[email protected]
Internship coordinator
Gerrit Uittenbogaard
[email protected]
Administrative employee
Sanne Jansen
[email protected]
Team of Lecturers
Els de Baan
Eric Hirdes
Mirjam Ingram
Nico Laan
Natasja Martens
Jurgi Persoons
Gerrit Uittenbogaard
Roy Verschuren
Robert Volmer
Ellen Vos
Marina Yee
p.141
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
2.8.6 Total overview of qualifications

QUALIFICATIONS PROPAEDEUTIC YEAR MAIN PHASE, YEAR 2
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet been
finalised. Please refer to the
website for the most up-to-date in
formation.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
p.142
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
QUALIFICATIONS MAIN PHASE, YEAR 3 MAIN PHASE, YEAR 4
Creative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to develop an inno-
vative concept arising from your
artistic ambition and research,
elaborate it into a distinctive
image, product, means of commu-
nication or spatial design, and to
contextualize it in a meaningful
way.
Capacity for critical reflection
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to consider, analyse,
interpret and assess your own and
others' work, and are capable of
constructively considering your
findings in relation to your own
work.
Capacity for growth and innovation
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to further develop
your vision, work and working
methods in breadth and depth
through an ongoing process
of research, and in this way
contribute to your discipline and
to society.
Organizational ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to establish and
maintain an inspirational and
functional working environment and
to organize your research, work and
practice.
Communicative ability
At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to effectively present
your vision, research and work and
engage in a dialogue with clients
and other interested parties.
External awareness At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to relate your
artistic practice to the artistic
and social context.
Capacity for collaboration At the time of printing this guide,
the specific final qualifications
of this study year had not yet
been finalised. Please refer to
the website for the most up-to-date
information.
You are able to make an independent
contribution to a collaborative
product or process.
p.143
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
INTERACTIVE/MEDIA/DESIGN FULL-TIME
Year 1 2 3 4
Semester 1 2 3 4 5 6 7 8
Design 1: Textile design 7 6 6 6 6 6
Design 1: Fashion design
Design 2: Textile design 6 7 6 6 6 6
Design 2: Fashion design
Visualising: Visual development 7 7 5 5 5 5
Visualising: Photography
Drawing: Fashion drawing 6 6 4 4 4 4
Drawing: Model drawing
Academy-wide propaedeutic year
project week
1
End exam 18
Internship 24
Art History/Fashion Theory 1 3 3 3 3
Research and Discourse 3 3
Thesis 6
IST 6 6 6 6 6 6
Total 30 30 30 30 30 30 30 30
EC after indiviudal assessments 24 24 24 24 24 24 24 24
EC after collective assessments 6 6 6 6 6 6 6 6
2.8.7 Study points overview
* Design in year 3: incl. Business Plan Writing

1st year: Due to the changed Research & Discourse programme minor adjustments of the EC is a possibilty.
p.144
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
3. Preparatory courses
3.1 Preparatory courses
The Royal Academy of Art offers
prospective students the following
opportunities in preparation of a
Bachelor’s programme at the academy:
/ School for Young Talent (vmbo-
tl, havo, vwo)
/ Preparatory year (one-year,
full-time programme, post-
secondary education)
/ Orientation Course (Saturday
course)
/ Combined Education (classes for
secondary school students in the
art plan programme or the School
for Young Talent)
/ Kids Club (9-12 year olds,
grades 7 and 8 of primary
education)
Additionally, the KABK collaborates
with several secondary schools, which
gives students attending these schools
the possibility to participate in art
class programmes at the academy. The
KABK is able to provide art classes
in upper secondary education (as part
of the KUBV course) and meets the
examination requirements set for this
course. The partners are:
/ Segbroekcollege The Hague
/ Bonaventura College Leiden
/ Rijnlands Lyceum Wassenaar
/ Zandvlietcollege The Hague
At present, a pilot is in progress
with new schools in the regions
Alphen aan de Rijn en Zoetermeer,
to enlarge the offer of art class
programmes and their coverage in the
area of The Hague.
3.1.1 General information Preparatory
Courses
The KABK offers a wide range of
Preparatory Courses. All courses
are aimed at introducing people to
art education and to offer them a
programme that matches their own
needs and level. Our keywords are
selection and orientation. The KABK
wants to provide talented people
with the opportunity to further
develop, so that they can eventu-
ally enrol in an undergraduate art
or design programme. The Prepara-
tory Courses can also give partici-
pants the opportunity to investigate
whether studying at the academy and
the prospect of a career as an artist
or designer is a possibility. Partic-
ipants are able to switch between the
different courses, which facilitates
the finding of a suitable trajec-
tory. Several internships are avail-
able for those studying to become an
art teacher at a secondary education
institution.
To participate in one of the Prepara-
tory Courses it is necessary to
follow a selection procedure. During
this selection the candidate should
bring as much (different) work as
possible. To make an appointment
please contact the Student Adminis-
tration.
Additional information
Main coordinator Preparatory Courses
Zanne Zwart
Coordinator Preparatory year
Nieke Koek
[email protected]
Office hours admission:
by appointment.
Office hours for students and parents:
by appointment.
p.147
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
3.1.2 School for Young Talent
The University of the Arts in The
Hague accommodates the School for
Young Talent (SYT) for elementary
school students (grades 7 and 8) and
secondary school students. The school
offers programmes at the levels
vmbo-tl (theoretical vocational
secondary education), havo (higher
general secondary education) and
vwo (pre-university secondary educa-
tion). The school welcomes students
who wish to continue their education
at the KABK, the Royal Conservatoire
or the Dance Department of the Royal
Conservatoire. The School for Young
Talent is a small programme that
prioritises individual attention.
We offer programmes in the profile
‘Cultuur en Maatschappij’ (Culture
and Society) (havo, vwo) and the
sector Economics (vmbo), with a
strong emphasis on the cultural
formation and development of the
students’ talents. Other profiles
or subjects are available through
intensive cooperation with the Rijn-
lands Lyceum in Wassenaar. The SYT
collaborates on an administrative
level with the Haagsche Schoolver-
eeniging and the Rijnlands Lyceum
in Wassenaar. The schedule allows
students following the art programme
to attend classes at the academy at
least three times a week. The regular
subjects are taught in the secondary
school building located in the Royal
Conservatoire. Here, art students
follow classes together with students
of the dance and music programmes.
Participation
To participate in the combined educa-
tion programme of the SYT and the
KABK, applicants enter an admission
procedure consisting of two compo-
nents. Although students can apply
when they are still in the final
year of primary education, the SJT
art programme is only available on
a secondary education level. Candi-
dates are assessed on whether their
artistic level is sufficient. When
the outcome is positive, the candi-
date meets with the director of the
SYT to determine whether the level
of education is adequate and corre-
sponds with the offered curriculum.
When both parts have been accorded,
the candidate is accepted to the
KABK/SJT. It is possible to join
the programme throughout the year,
in all years and at all levels. In
practice, this does not apply to the
senior year. When a student wishes to
join the programme when the academic
year has already started, this can
only be done in consultation with
the student’s previous school. On
an individual basis there are many
possibilities for the student to
attend both regular secondary educa-
tion, and prepare for the academy.
The tuition fee for the SYT for the
academic year 2013/2014 is set at €
1,650. Additional costs are the costs
for materials and excursions. For
more information please refer to the
School for Young Talent brochure.
See also www.svjt.nl / www.koncon.nl
Students who have been accepted to
the art and design programme follow
classes at the Royal Academy of Art
(KABK) in The Hague, which is located
a short ten-minute walk from the
Royal Conservatoire. In the lower
years, students are offered various
courses in which they are introduced
to different materials and techniques
and learn how to express and develop
their ideas. In these courses they
obtain a solid foundation on which
to base their choices in the higher
years. In the higher years they
enter a more individual trajectory
to prepare for their continuation of
study in art education. In the final
year, the students create a diverse
portfolio adhering to the admission
requirements of their chosen depart-
ment at the KABK.
The curriculum of the art programme
includes, among others, the courses
Drawing/Painting, Photography,
Graphic Techniques, Spatial, Concept
p.148
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Development, Theory, Interdisci-
plinary and Art Theory, as well as
additional modules that provide
guidance on the different specialisa-
tions available at the KABK. Students
can also work independently at the
academy and make use facilities such
as the library, the computer, wood,
metal, graphic and textile workshops.
Customised programmes are possible
in consultation, and only if the
programme allows it. Students can
be found at the KABK at least three
days a week. They are supervised by
teachers who are well acquainted with
the secondary educational system and
the KABK. The teachers have active
art practices.
Twice a year the collective assess-
ments take place. During these
so-called Christmas and summer
assessments, the students present
their work of the past semester at
an appointed place in the academy
building. All teachers view the
presentation, question the student
and assess him together. Should the
Christmas assessment have a nega-
tive outcome, then the student is
given time to improve until the next
assessment. If the summer assessment
is negative, then the student will
generally not be able to continue
with the programme. In special
cases it may be decided to allow the
student to redo the art component,
to give him a task, or to have him
conditionally enter the next year.
Important components of the curric-
ulum are the excursions, cultural
tours and visits to exhibitions.
Students also participate in many
different projects. Students may
use the facilities at the KABK, in
compliance with rules on safety asso-
ciated with their age. The students
have their own classroom, which is
reserved specifically for students of
the School for Young Talent.
Study varieties
Students can enrol in the SYT from
the first year of secondary educa-
tion onwards. Even younger students
are able to take some courses, in
combination with the programme
at their primary school. Students
can also enrol in the programme in
later years. Students with a vmbo-tl
diploma from another secondary
school can apply to obtain their
havo diploma at the School for Young
Talent in the art programme. If a
student obtains his vmbo diploma
at the School for Young Talent, he
will usually have to take additional
havo-courses, or complete the full
havo-programme, on contract basis.
Students who only take a few addi-
tional havo-courses may combine them
with the Preparatory year.
Director SYT
Jan van Bilsen
Head of Department SYT Visual Arts
Zanne Zwart
[email protected]
3.1.3 Preparatory year
The Preparatory year is intended for
motivated people who are inadequately
prepared to already be accepted to
the intended programme or have the
need for a broad orientation and
preparation before commencing with
a programme at the academy. The
Preparatory year prepares students
for all study programmes offered at
the academy. The objectives of the
Preparatory year are orientation,
selection and incentive.
Admission procedure
To apply for the Preparatory year
candidates have to enter an admis-
sion procedure. During the selection
day candidates display their work
and engage in a conversation with the
admission committee. After the final
assessment in the Preparatory year,
students might be accepted, depending
on their study results, into a study
programme at the academy.
In addition to the possibility of
applying directly for the Prepara-
p.149
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
tory year, candidates who apply for
a study programme at the KABK might
also be advised to first complete
the Preparatory year. The Prepara-
tory year is intended for people
who already have their vwo, havo
or mbo 4 diplomas. If applicants do
not meet this admission requirement,
it is possible to obtain the neces-
sary diploma at the School for Young
Talent (SYT), the KABK’s secondary
school. For more information on this,
please refer to the section ‘Special
combined education’ below. It is
also an option for applicants to do
a special test that indicates whether
the applicant has a havo-level of
thinking. We therefore advise all
applicants without a havo, vwo or
mbo diploma, to take this test as
soon as possible. A negative outcome
of the admission means the candidate
cannot enrol in the programme, and
the attempt is made to find another
suitable programme.
For more information it is possible
to make an appointment during the
Preparatory Courses office hours
via the Student Administration:
070-3154770.
Study programme
The programme consists of various
classes taught by teachers of the
KABK. The courses can be described
as ‘perceiving and processing the
world around you’, ‘perceiving and
processing the art world’, ‘presenta-
tion’ and ‘work groups’. The courses
focus on the student’s communicative
skills and the ability to transform
experiences and observations into
images. The emphasis is on the study
attitude and mind-set needed to study
at the academy.
The year is divided into three
periods. The period prior to the
Christmas holidays has a broad orien-
tation as its foundation, during
which students are given general
assignments to complete, according
to their own ideas. In this first
period, students gain a lot of
experience by visiting exhibi-
tions, watching films and observing
other cultural expressions, and
they learn how to give a response to
these expressions. This first period
includes a subscription to events
and screenings at the Filmhuis and
Theater aan het Spui. Students are
expected to make a full-time commit-
ment, show an independent attitude
and actively participate.
After this first semester, the
student chooses in which direction he
wants to continue working, and the
second semester is therefore more
specifically focused on a particular
discipline. Contact will be made with
the chosen department.
The third period consists of six
weeks, starting in March, during
which the student works in the chosen
department to prepare for the admis-
sion that takes place in the begin-
ning of May. The programme’s struc-
ture is thus based on different
levels of submergence into the chosen
discipline. Deviating programmes are
a possibility, if the rest of the
programme allows it. Students can
also participate in excursions.
Assessments
There are two assessment moments. The
first is in December. The heads of the
various departments are involved in
this assessment. The second assess-
ment takes place at the end of April/
beginning of May. Students receive
a report on the basis of the final
assessment. The final assessment
is accompanied by an admission. The
student presents his work and chooses
a department to which he wants to
apply. A special committee of this
department assesses students from the
Preparatory year during a separate
selection moment. Should the student
be rejected, he then has ample time
to improve his portfolio and partic-
ipate in the regular application
rounds of the specific departments.
The Preparatory year is successfully
completed when the student is admitted
to his chosen programme.
p.150
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Workplace
We advise all students of the
Preparatory year to create a work-
place/studio, so that they can also
work peacefully at home and have
access to all kinds of materials.
Materials
The necessary materials are speci-
fied for each discipline. Within the
academy building there is an art shop
where students can buy materials.
The final cost of materials is very
individual and depends greatly on the
student’s ideas and choices.
General Information
Participants of the Preparatory year
are not registered as a student and
do not receive financial support. The
cost of participation of the Prepara-
tory year are € 2,000, which includes
an amount of € 250 for the theatre
and film subscription and excur-
sions. Parents may be eligible for
support in the form of child support
if financial support is not available
for the programme. More information
can be found on: www.duo.nl.
In case of premature termination of
the Preparatory year after November
1, 2013, the tuition fee and addi-
tional costs cannot be refunded. To
apply for the Preparatory year and
for further information please call
the KABK at 070-315 47 70 and make an
appointment for the admission inter-
view via the Student Administration.
Coordination
Zanne Zwart
Nieke Koek
[email protected]
3.1.4 Collaborations with
secondary schools
To improve the relationship with
secondary education and to offer
secondary students the chance to
adequately prepare for further study
in the arts, the KABK has a number
of partnerships with schools inside
and outside of The Hague. Additional
projects are still in the pipe-
line. Secondary schools focus more
and more on art and culture; with a
good example being the establishment
of the so-called cultural profile
schools.
Secondary school students often find
it difficult to form a realistic
image of what it’s like to study
at an art academy. In addition, art
academies regularly require different
qualities than those developed in
the art classes in secondary educa-
tion. The subject matter in these
art classes is often insuffi-
ciently focused on talent. Nowadays,
different groups of the participating
secondary schools visit the academy
on one afternoon a week, and students
follow classes that complement their
own study programme. This happens in
all years. When possible, the classes
at the academy, and consequently the
study load, are integrated with the
regular study programme.
Students from these programmes
continue on to more intensive forms of
preparation, such as the Preparatory
courses, the School for Young Talent
or the Preparatory year. In the near
future, students from external schools
may also be able to take their art
exams through the KABK.
Set-up and courses
In the first three years of the ‘art
plan’, students get acquainted with
the various studies offered by the
academy. They acquire a solid base
to help them make choices later on.
In the first three years we meet
the core objectives as stated by the
Ministry of Education, namely:
p.151
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
1. Core objective 48: Producing art
“The student learns to investigate
the power of expression of different
artistic disciplines by using basic
skills and apply them to express his
own feelings, capture experiences,
develop his imagination into images,
and establish communication.”
Reflection is an important part
of each class. In all assignments
students are encouraged by their
teachers to make use of their imag-
ination. Students are stimulated to
represent their imaginative world in
two and three-dimensional creations
and digital products. They record
their experiences in a notebook
or sketchbook, and later use them
when making preliminary studies and
coming up with topics for independent
assignments. The notebook is a
personal journal in which the student
also works outside of class. This
book is an important contribution to
the achieving the core objective. The
objective mainly concerns the produc-
tion of art, and that is exactly what
takes place in every class, in the
broadest sense of the term.
2. Core objective 49: Presenting personal work
“The student learns to present, alone
or in a group, his own artistic work
to others.”
The presentation of the student’s
work often takes place in each sepa-
rate class and after completion of
a block of lessons within one disci-
pline. In addition, the student
learns to discuss his work in the
context of the group and is taught
the necessary concepts to optimally
tell his story. At the end of an
academic year, students collectively
present their work to those inter-
ested. In a group exhibition, created
by the students themselves, they can
observe and talk about the work.
3. Core Objective 50:
Learn to observe and listen to art
“The student learns, on the basis
of some background knowledge, to
observe visual art, listen to music
and watch films, and theatre and
dance performances.”
The art plan elaborately focuses on
the observation of art during the
excursions. Each group can go on
separate excursions per discipline,
but all students also go on a collec-
tive excursion. During these excur-
sions the student experiences art and
culture, and learns to understand and
appreciate art. Each excursion has
a related assignment, and students
also write a report in their note-
book. Students can also visit the
regular exhibitions in the KABK. In
each discipline, attention is paid to
exhibitions of the relevant disci-
pline, so that students can take the
initiative to visit the exhibition
outside of class.
4. Core objective 51: reporting on experiences
“The student learns, by using visual
or auditory means, to report on his
participation in artistic activities
(as a spectator and as participant).”
In his notebook, the student reports
on his experiences with art and
culture. The reports are discussed
and reviewed in class. The student
learns to write down and verbally
express the experiences that he gains
by observing the art works of others,
including those of professional
artists. Forming an opinion is very
important in this. Students playfully
learn to develop an extensive vocabu-
lary that enables them to communicate
about art.
p.152
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
5. Core objective 52: Reflecting on artistic work
“The student learns to reflect
verbally and in writing on his own
work and that of others, including
visual artists.”
In the art plan, students learn to
articulate their ideas and opinions,
and what they have learned during the
creative process.
The art plan is designed for students
who have an above average interest
in art. In the context of this plan,
they are introduced to the various
disciplines offered at the KABK. We
aspire to offer these students the
best and most diverse programme as
we possibly can, which helps students
reach the core objectives. We hope
that students will be encouraged to
continue studying and working in the
art world. With the art plan we give
them a solid foundation to do so.
Courses
This year we offer the following
courses: Fine Arts, Graphic Design,
Interior Architecture, ArtScience,
Textile & Fashion, Graphic Design
and Photography. These courses are
offered in modules of approximately
six classes.
Collaboration
The KABK currently collaborates with
the following schools:
/ Segbroekcollege: first to third
year: ‘plan visual art and
design’, also referred to as the
‘art plan’. Higher years: KUBV
(Art Visual Development); also
see www.kunstopsegbroek.nl;
/ Bonaventura College Leiden:
all years: ‘plan visual art and
design’, also referred to as the
‘art plan’;
/ Rijnlands Lyceum Wassenaar:
first to third year, and
possibility of KUBV in the
higher years, also referred to
as ‘art class’;
/ Zandvlietcollege The Hague:
first to third year, and
possibility of KUBV in the
higher years, also referred to
as ‘art class’.
The KABK also strives for an improved
relation with higher vocational
education (mbo). The development of
continuous learning trajectories is
one of the possibilities.
Admission procedure
To participate in one of the art
plans applicants must enter an admis-
sion procedure. The admission is
organised by the schools in coop-
eration with teachers of the KABK.
Please contact the secondary schools
for more information about the proce-
dure and admission requirements.
Coordination
Zanne Zwart
[email protected]
3.1.5 Special Combined Education
Students can follow art courses at
the KABK in combination with their
secondary school education. The
programme is then usually adapted to
fit the individual student’s needs,
because the two schedules do not
always fit. Usually students are
able to (partially) follow the same
programme as the students at the
School for Young Talent. To enrol
in this programme, students must
enter an admission procedure. Where
possible, the student’s teachers
advise on how the participation
in the preparatory programme can
be fitted into the regular school
programme. For this form of partici-
pation payment of a fee is required,
which is calculated on the basis
of the amount of classes/sessions.
Students can apply after obtaining
the havo diploma. To apply, students
enter a separate admission procedure,
connected to the end exam presenta-
tion of the visual work.
p.153
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Admission procedure
To participate in the combined educa-
tion programme at the School for
Young Talent and the KABK, students
take part in an extensive admission
procedure. Students can enrol at the
School for Young Talent after the
start of the academic year. To apply,
please make an appointment with the
Student Administration of the Royal
Academy of Art (telephone number:
070-3154770). On the selection day
the candidate should bring a port-
folio: a folder carrying self-made
work. The candidate is also allowed
to bring a laptop, on which he can
show videos, photographs and/or
other digital creations. The candi-
date is expected to show recent work.
The admission committee looks for
creative ability, motivation, apti-
tude, idea formation, uniqueness/
originality, potential for growth,
and a diverse use of materials and
techniques. During an interview
on the selection day these aspects
are discussed. After the selection
day, the committee decides whether
the candidate is suitable for the
programme or not, or decides to
request a second interview, with or
without an additional assignment. If
the candidate is deemed suitable,
he is invited for a second admission
interview with the director of the
school to discuss the educational
component. If this is also suffi-
cient, the candidate is accepted.
“Speccies”
Students who are enrolled in
the special combined education
programme, are sometimes referred to
as “speccies”. Because the schedules
of the academy and the schedules of
their own school change each year,
we ask these “speccies” to contact
the coordinator at the beginning
of the school year to organise the
two schedule so that they do not
overlap. This might mean that a
student takes the course Drawing/
Painting on Thursdays during one
year, and switches to the Wednesday
slot in another year. Students have
the possibility to take one or two
classes a week.
Coordination
Zanne Zwart
[email protected]
3.1.6 Orientation Course
The Orientation Course is primarily
intended for people who are consid-
ering applying to one of the bach-
elor’s programmes at the KABK.
Students in the Orientation Course
are introduced to the mind-set,
methods and study attitude needed
to study at the academy. The course
takes place on fourteen Saturdays
(including a one-day excursion).
First course:
5 October 2013 – 25 January 2014
From 10:00 - 15:00
(break from 12:30 to 13:00)
Second course:
22 February, 2014 – 21 June 2014
From 10:00 - 15:00
(break from 12:30 to 13:00)
The Orientation Course at the
KABK offers students the opportu-
nity to develop their work and get
to know the different disciplines.
The emphasis of the programme is on
working process-based and on the
discovering and developing of the
student’s artistic ambition. Social
orientation plays a major role.
Students can expect a journey that
challenges them to develop an inves-
tigative, visual attitude. The
offered techniques and exercises
are tools to achieve this attitude,
and not a goal in themselves. The
emphasis is mainly on the process,
and less so on the end product.
Students regularly receive take-home
assignments that support the process.
During the classes, students work
on creating their portfolio, which
does not only show the student’s
abilities, but also his sources of
p.154
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
inspiration: the source of ideas and
the artists to whom he relates, his
‘artistic family’. To have a complete
image of the discipline at the end of
the course, the student also works on
his social orientation.
The course is taught by teachers from
the KABK. Guest teachers, students
and alumni are regularly invited to
give talks about their discipline
and exchange experiences with the
students about studying at the KABK
and professional options.
Admission procedure
The admission procedure consists of
the following components:
/ The presentation of a portfolio.
This is a collection of
drawings, sketches, designs,
models, pictures, photographs,
movies, paintings, etc., that
the applicant has created on his
own initiative. Also important
is a visual diary that shows the
applicant’s inspiration, ideas,
plans, experiences and insights.
If you have any questions
about this, please contact the
coordinator.
/ Completing the questionnaire.
The questionnaire should be
taken to:
/ The selection day. On the
selection day applicants
are given an assignment, and
work under the supervision of
different teachers at the KABK
for a full day. The results of
this day are brought, together
with the portfolio, to:
/ The interview. During the
interview the portfolio, the
questionnaire and the work
made on the selection day are
discussed.
The selection day with the subsequent
interview for the first course of
2013/2014 takes place on:
Saturday 21 September 2013, from
10:00 to 16:00 (for all applications
prior to 20 September 2013)
The selection day with a subsequent
admission interview for the second
course of 2013/2014 takes place on:
Saturday 8 February 2014, from 10:00
to 16:00 (for all applications after
20 September 2013)
Admission and tuition fee
Application is only possible by
filling out the application form on
the KABK website. The tuition fee for
the year 2013/2014 amounts to € 475
(including the tuition fee and the
one-day excursion) per course. The
full amount must be paid in advance.
In case of illness, absence or early
termination of the course the tuition
fee will not be reimbursed. After
applying by sending in the application
form, the applicant will automatically
receive the questionnaire and an invi-
tation for the selection day.
Students need to provide their own
materials for the classes. At the
art store in the academy building
students enrolled in the course can
buy a materials package for a reduced
price.
For questions and further informa-
tion, please contact:
Zanne Zwart (main coordinator
Preparatory Courses)
[email protected]
Willem Goedegebuure (coordinator)
[email protected]
For an appointment during the
Preparatory Courses office hours,
please contact the Student Adminis-
tration by calling 070-3154770.
3.1.7 Additional Activities
In the framework of European
exchange, we have an exchange agree-
ment between the Preparatory Courses
and the Instituto Statale d’Arte in
Vittorio Veneto, Italy. This is a
p.155
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
school where, similar to the School
for Young Talent, secondary educa-
tion and art education are combined.
The KABK participates in several
projects in The Hague that are aimed
at familiarising young children with
Visual Art and Design. Examples of
these projects are the Kunstbende
competitions, projects at Nest,
Rewire Festival, TodaysArtFestival
and various galleries and museums.
Also included in the curriculum
is the organisation of exhibitions
and showing work in galleries and
at other locations. We also inform
secondary school students about the
possibilities of studying at the KABK
at information markets throughout
the year. Together with the Faculty
of Arts we are developing our own
art pedagogical model, which will
be continued to form in the coming
years.
Coordination
Zanne Zwart
[email protected]
Kids Club
The kids club is a group of children
from primary school grades 7 and 8
(age ranging between 9 and 12 years
old) who are interested in learning
more about art in addition to what
they are offered at their own school.
The kids club also includes children
who are considering applying for the
School for Young Talent or one of the
art plan schools. During the classes
these children show what they are
capable of and work on their port-
folio at the hand of assignments.
When, how and where
The Kids Club takes place every Friday
from 16:30 to 18:00 in room PB125
of the Royal Academy of Art at the
Prinsessegracht 4 in The Hague. It is
up to the student whether they want to
join weekly, or just participate once.
New students can send an email to the
address below, and will be picked up
at the reception. The costs of a class
are € 7.50, which includes material
and a drink and snack.
Exhibition
All works made over the course of
six months are kept at the academy.
At the end of each semester, once in
December and once in June, all works
are presented in an exhibition. For
many children this is their first
exhibition. Everyone is welcome at
these exhibitions, and afterwards all
works are taken home.
Materials
The class fee includes materials.
There is no need for students to
carry around around jugs of paint. We
strive to use a different material
in each class. In the past six months
we used paint, paper, clay, charcoal,
wire, plaster, fabric, ink, chalk,
sheets, etching pens, etching ink,
etching paper, etching press, wood,
plastic bags and other materials.
During their first class, students
receive an overview of which mate-
rials will be used when. If students
have materials at home they would
like to use, they are free to bring
those along.
Coordinator and teacher
Zanne Zwart
[email protected]
[email protected]
p.156
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
4.1 Post Graduate Course
Industrial Design
The Post Graduate Course Industrial
Design (ID) was founded in 1950 and
is the oldest accredited course in
Design and Industrial Design in the
Netherlands. Prominent personal-
ities like Gerrit Rietveld, Frans
de La Haye and Renny Ramakers were
associated with the course either as
student or teacher. ID is a part-time
course for students from an interna-
tional field, and positions itself
between industrial design and design:
a precise mix of concept, skills,
culture and industry.
Programme
The programme is taught by teachers
who have a full-time practice in the
field. Teachers and guest lecturers
are invited on the basis of relevance
to design assignments and required
knowledge and skills. This gives
ID a highly realistic content. The
different backgrounds of the students
also provide added value.
Schedule and location
The Post Graduate Course Industrial
Design consists of six separate
blocks of six months. The student
receives a certificate for each block
and eventually the diploma. Classes
take place in the KABK building at
the Prinsessegracht 4, The Hague.
Outside class and during the acade-
my’s opening hours, students can make
use of the various workshops. Classes
take place on Wednesdays and Thurs-
days, from 16:00 to 21:45. Students
should expect to work on assignments
approximately ten to fifteen hours
per week.
Design Courses
Industry & Culture
The design assignment is based on an
integrated approach to industry and
culture. The combining of different
(design) disciplines and skills is
central: industrial design, design,
applied arts, engineering, marketing,
manufacturing of small series and
mass production, consumer market,
retail and business to business. The
student finds his way between Milan
and Frankfurt, and between Delft and
Eindhoven.
Real Artist
In this design course, the person-
ality of the student is centralised
in relation to the produced work. The
student is given a clear overview
to the world of galleries, museums,
cultural events, institutions,
grants, magazines, presentations
and in-house production. Atten-
tion is also paid to determining the
student’s position as an independent
designer in relationship to curators,
journalists and opinion makers.
Cool Industry
The design assignment is set in
the context of the process side of
industrial design: marketing, corpo-
rate identity, technical expertise,
dealing with customers, quotations
and acquisition. The reality of
working in an international field
is discussed. Clients, producers
and consumers are, after all, often
located outside the Netherlands.
The student will be introduced to
the world of managing directors,
marketers and researchers.
Design drawing & sketching and
Computer skills
Design drawing & sketching
Hand Drawing is an extension of the
student’s visual expressive abili-
ties. Students learn basic skills in
manually presenting and designing 2D
with various techniques and mate-
rials. He works individually on the
set assignment. The classes are
taught in the context of the design
courses.
Computer skills
Computer skills in the context of
the design courses are an extension
p.159
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
of the student’s visual expressive
abilities. Central are basic knowledge
and extensions of computer skills,
and extension-programmes and rendering
techniques. The skills are transferred
per item and in a transparent manner.
Personality, contemplation and culture
Personality skills
Designers should not only deliver a
good design, but should also be able
to communicate it from their personal
perspective to all those involved. In
these classes, we address matters such
as personality development, communi-
cation skills (verbal and written),
negotiation, and consultancy and
project management skills.
Contemplation
The student learns to take a stand in
the social and theoretical context of
the design discipline and to position
his design vision in this context.
The teacher presents various views
and opinions on this matter. Discus-
sion and development of the student’s
own vision is characteristic to this
course.
Culture carriers
The student is introduced to the
cultural and commercial embedding of
design. The lecturer(s) are renowned
authorities in the cultural, political
or business field. They can be cura-
tors of museums, members of the munic-
ipal executive of economic affairs or
representatives from a cultural fund.
They familiarise the students with the
context and objectives of such bodies.
Students can determine their own posi-
tion in these organisations. Culture
Carriers provides knowledge on the
contemporary context of the design.
Registration and fees
Potential candidates can apply by
filling out an application form and
sending in a CD-ROM with own work.
The admission procedure includes an
assessment interview with an admis-
sion committee. ID is fully funded by
tuition fees paid by students. This
amounts to € 1925, - per semester (2),
excluding the required materials.
The schedule, content and structure of
the curriculum are subject to change.
A list of the lecturers is available
on request. The Post Graduate Course
Industrial Design can only commence
with enough entries.
Staff
Head of department
Ernst Bergmans / [email protected]
Coordinator
Jacob de Baan / [email protected]
Team of Lecturers
Jacob de Baan / [email protected]
Erland Bakkers / [email protected]
Roselien Steur / [email protected]
Alfred van Elk / www.alfredvanelk.com
Jantje Fleischhut / www.jantjefleischhut.com
Maaike Roozenburg / www.maaikeroozenburg.nl
Guest teachers, among others:
Patrick Belli / www.bellidesign.nl
Joris Castermans / www.syntens.nl
Maurice Ciapponi / www.ciapponi.nl
Theo van Dusseldorp
Maartje de Haan / www.meermanno.nl
Sam van Haaster / www.dokmedical.nl
Siem Haffmans / www.ragbag.eu
Frans de La Haye
Ineke Heerkens / [email protected]
Milou Ket / www.milouket.com
Josée Koene
Wilfred Löwensteyn / www.tokohome.nl
Hans Menkveld / www.tesink.nl
Bruno Ninaber / www.ninaber.nl
Ingeborg de Roode / www.stedelijk.nl
Chris Sluter / www.chrissluter.nl
Nicole Uniquole / www.uniquole.nl
Loes Wagemans / www.gewoon.nl
p.160
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
4.2 Type & Media (MDes)
In September 2002 the Royal Academy
of Art in The Hague started its
post-graduate course in Type and
Media, formerly the course in Type
Design and Typography. It is a full-
time one year course that gives
participants the possibility of
delving deeper in type design for
different media: not only type for
print, but also for film, television,
video and interactive media. Although
we live in an increasingly pictorial
culture, type design and typography
have lost none of their value. Since
its Accreditation it is a Master of
Design in Type and Media.
At Type and Media, students work
intensively in small groups of no
more than twelve persons. They work
under the guidance of expert and
enthusiastic teachers from the perma-
nent and visiting faculty. Although
the student’s personal motivation is
given primary place, collaboration
with other students is of fundamental
importance.
The many aspects of type design in
relation to typography for different
media are covered in various assign-
ments. Assignments are both practical
and theoretical and in some cases in
co-operation with the media industry.
Discussions with a number of leading
graphic designers –each with a
different view- provide theoretical
depth. The various excursions and
conferences, like the yearly confer-
ences of ATypI – Association Typo-
graphique Internationale – and Typo
Berlin, are also worth mentioning.
The master course also organizes
different activities in the field of
type design, like the three-yearly
Gerrit Noordzij Award. Students Type
and Media play an important role in
the activities concerning this Award.
The regular teachers are:
/ Jan Willem Stas (course
supervisor, professor in
typography);
/ Erik van Blokland (professor in
type design);
/ Peter Verheul (professor in type
design).
/ Paul van der Laan (professor in
type design).
Visiting teachers, attached to the
regular course in Graphic Design at
the Royal Academy of Art are:
/ Frank Blokland;
/ Just van Rossum.
Visiting teachers are:
/ Françoise Berserik;
/ Peter Bi’lak;
/ Petr van Blokland;
/ Christoph Noordzij;
/ Fred Smeijers;
/ Gerard Unger.
Anyone wishing to register for the
Master of Design Type and Media
course is invited to make an appoint-
ment with the course supervisor, Jan
Willem Stas ([email protected]).
Candidates must be graduates of an
art or design academy and must have
sufficient practical experience. The
candidate should present his or her
motivation to register for the master
course, partly based on a portfolio
of work. They should, of course, be
fascinated by type design, typography
and different media, and be acquainted
with developments in the field.
p.163
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
4.3 ArtScience (MMus)
Overview of the master ArtScience
As part of the ArtScience Interfac-
ulty, the Royal Academy of Art and
the Royal Conservatoire have been
offering a two-year interdisciplinary
master since 2002. At the ArtScience
Interfaculty students and teachers
are developing new forms of interdis-
ciplinary art, and the goal of the
teaching programme of the Interfac-
ulty is to investigate and possibly
shape the intersection between
artistic concepts and recent develop-
ments in science and technology.
Every year, the programme of courses
and projects is partly updated
according to current themes from the
area where art, media, science and
technology overlap. Possible artistic
responses to recent developments
are formulated by experimenting with
new contexts and forms in which art
can play a role. This discussion is
continually related to an interdisci-
plinary base in which the continuity
between media art, music, theatre,
film and visual art is considered to
be self-evident.
Participants in the master’s
programme of the ArtScience Inter-
faculty are admitted on the basis of
a research proposal, and depending
on the research topic the student
chooses two personal coaches. The
three of them together then draw up
a study- and research plan that will
include course modules, projects
and labs offered within the ArtSci-
ence Interfaculty and which can
also include other courses from
the Royal Conservatoire, The Royal
Academy of Art or Leiden Univer-
sity. This choice will be based
on both the research topic and the
background of the student; also the
ratio between self-study and course
modules will be different for each
student. Complementing this indi-
vidual track are a number of intro-
ductory courses that are obligatory
for all ArtScience master students.
Also there are collective activities
especially geared towards the mutual
contribution to the research of
fellow students. The progress in the
individual work is being monitored
in evaluations by the ArtScience
teachers two times a year.
Goals of the programme
The master’s programme is geared
towards students who have already
finished some form of higher art
education and who already have at
least the beginning of an inde-
pendent artistic practice. During
the master’s study they can pursue a
two-year personal research project
with the aim to develop or trans-
form their own artistic niche within
the broad field of the arts and
sciences. Depending on the research
proposal and the background of the
student a study and research plan
is made that enables the student to
acquire the skills, research methods
and conceptual background necessary
for their research. Because of the
tailored nature of the individual
study trajectories, master’s students
are expected to further develop their
independence, self-organization
and critical thought during their
studies.
On top of this there are a number
of collective activities for all
master’s students, with the aim to
offer solid theoretical, methodo-
logical and historical knowledge of
the ArtScience field and in order to
stimulate the exchange of skills,
knowledge and viewpoints between
students.
The students are challenged to
develop a range of professional
competencies regarding three domains:

/ The artistic-technical domain;
/ The professional world;
/ The theoretical domain.
p.165
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Within each of these domains students
are expected to develop competencies
within these areas:
/ Creativity;
/ Critical reflection;
/ Growth and innovation;
/ Organizing;
/ Communication;
/ Relating to the environment;
/ Collaboration.
These competencies are the basis of
the evaluation by the teachers at
the end of each course module and
they are also used to evaluate the
presentations at the end of each
semester. In turn, twice a year an
evaluation meeting is held for the
students to evaluate the programme
and suggest improvements.

Structure of the programme
The open curriculum and the study plan
The master’s programme ArtScience,
like the bachelor’s programme, is
based on the concept of the open
curriculum. Because the master
students are admitted on the basis of
a specific research plan and because
two years is too short to familiarize
themselves with the Interfaculty
before making choices, this research
plan is translated into a study plan
together with the coaches. This study
plan maps out the individual path
of the student through the teaching
modules on offer within the Inter-
faculty and related departments and
institutions.
At the ArtScience Interfaculty there
are four forms of tuition: research
projects, labs, individual coaching
and courses. These activities are
open to master as well as bachelor
students ArtScience. In the last
two years, seven labs have been set
up within the Interfaculty, each of
which is a combination of a labo-
ratory, a production facility and
an ensemble of teachers, students,
alumni and guests working there.
Each lab is also a platform to offer
coaching and space for projects by
individual students, and a channel
for the accumulation, documentation
and dissemination of their research
results and artworks. The aim is
to gradually integrate the research
proposals of the master’s with this
new lab structure where possible, and
work towards a situation where bache-
lors assist in research projects.
Part of the study trajectory can
consist of courses outside of the
Interfaculty. Likely choices are
the Introductory Courses offered by
the KABK (Moving Image, WebDesign,
3d-animation, Sound) and the courses
offered at the MediaTechnology master
of Leiden University. Apart from
this a broad spectrum of courses
within the Royal Academy, the Royal
Conservatoire and Leiden University
are available. In the past students
have followed courses in Sonology,
Singing, Percussion, Photography,
Print Making, Art History, Philos-
ophy, Electronics, Sociology, Bio-in-
formatics, Art and Genomics. We would
like to encourage students to explore
other possibilities and surprise us.
Self-study and coaching
Each master student has two teachers
who coach the individual work,
reflect on it together with the
student, offer a context for it,
suggest literature and other sources
and often assist in solving practical
problems. Depending on the nature of
the research proposal each student
has a certain amount of time for
individual work and self-study within
the masters programme.

Collective activities for master’s students
There are a number of collec-
tive activities for all master’s
students, with the aim to offer a
broader orientation on the ArtSci-
ence field and in order to stimulate
the exchange of skills, knowledge and
p.166
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
viewpoints. In the first year the
master’s are expected to follow a
number of introductory courses that
are offered at ArtScience, of which
‘Media Art Histories‘ and ‘Nine Snap-
shots‘ are compulsory. These intro-
ductory courses give a historical and
theoretical overview of the ArtSci-
ence field.
Twice a month there is a master’s
meeting: a gathering of all master’s
students under the guidance of
Arthur Elsenaar and Horst Rickels.
These meeting focus on presenting
the reults of the research by the
students in spoken and written form
and on discussing matters of meth-
odology. Students will be helped to
develop a critical context for their
research and to structure their
research process. Master’s students
are asked to produce a written
account of their critical context and
research process, as part of their
third presentation, half-way the
second year.

Presentations and evaluations
In January and in June there are
collective presentations. The
mid-term presentations in January
have the form of a discussion where
the students are asked to show the
progress of their research and where
this progress is discussed with all
the teachers. At the presentations
in June the student is expected to
show a new work that will be judged
in the context of the research of the
student and with the general compe-
tences for the master programme in
mind.
At the end of May the graduates of
the bachelor and the master will
organize a public preview of the
final exam projects. These should
be completed by this date, so that
the remaining month can be used for
rehearsals and fine-tuning.

Admission to the Master’s programme
of the ArtScience Interfaculty
Students are admitted to the master’s
programme ArtScience on the basis of
their previous artistic work and a
research proposal. Only candidates
with a bachelor’s degree in the arts
or sciences can apply.
Those interested in applying for
the MMus programme ArtScience are
invited to contact head of the Inter-
faculty, Joost Rekveld (via e–mail
[email protected]) for
a first, general assessment whether
the profile of the applicant matches
the programme and for feedback on a
first draft of the research proposal.
Master’s candidates should also fill
in the online admission form on the
website www.koncon.nl.
In order to apply for the ArtScience
MMus programme we ask you to send
us your research proposal, a curric-
ulum vitae (resume), a portfolio and
a number of official documents. All
written materials should be in Dutch
or English. After a preselection
based on these materials, candidates
will be invited for an interview.
European candidates are expected
to be physically present at this
interview, with candidates outside
of Europe we will propose a skype
meeting.
The deadline for application is the
1st of april. Candidates must send
all required materials in one package
adressed to Joost Rekveld, Master’s
Programme ArtScience, Royal Conserv-
atoire, Juliana van Stolberglaan 1,
2595 CA Den Haag, The Netherlands.
Students are admitted to the master’s
programme ArtScience on the basis of
their previous artistic work and a
research proposal. Only candidates
with a bachelor’s degree in the arts
or sciences can apply.
Research Proposal
In your research proposal we ask
you to give an overview of where you
stand now in your artistic activi-
ties, to propose a research project
and to indicate how doing this
research would change your artistic
p.167
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
future. You are free to choose a text
format that suits your proposal and
background, but it should be between
two and four pages A4 of text long.
The text should cover the following
points:
/ Please give us some background
to your artistic past; briefly
explain the motivation behind
getting involved in art and
behind the artistic choices you
have made so far.
/ Please describe the artistic
disciplines you have been
involved or interested in so
far.
/ Please give a clear description
of your research topic and the
fields this topic relates to.
/ Please explain your motivation
for choosing this research
topic. How do you think doing
this research will transform
your work?
/ Please indicate how your
research topic is related to the
ArtScience curriculum.
/ Please make a first choice for
two ArtScience teachers who
could coach you in your research
(you can look at the Faculty
Biographies on the website or in
the ArtScience study guide).
/ Please describe two concrete
projects you would like to
realize as part of this research
proposal.
/ Please indicate the materials
and facilities you will need for
your research.
/ Please give an outline of what
you hope to achieve during
your studies at the ArtScience
Interfaculty.
/ Please describe how you think
you will be able to contribute
to the learning environment at
the Interfaculty.
Curriculum Vitae (Resume)
This should cover:
/ your previous education;
/ your artistic past
(see also portfolio, below);
/ work experience;
/ languages.
Portfolio
In the portfolio you should show us
documentation of works of art you
made. These original works can be in
any art form or medium, while the
documentation should be a short text
describing each work, illustrated
with photos, drawings, reviews, etc.
Please include audio on CD and video
on DVD, in which case you should mark
a maximum of three minutes you abso-
lutely want to be viewed or listened
to by the selection committee.
Digital documentation should run on
both Mac and PC, can be on CD or DVD
and should use standard file formats
(jpeg tiff pdf mp3 flash aiff quick-
time avi powerpoint).
Please do not send us originals. For
practical reasons we can not always
return your portfolio.

Official documents
A copy of the candidate’s passport,
a visa (when applicable), a copy
of relevant diplomas, two passport
photos, and email address should be
included.
p.168
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Credit Points Overview

YEAR 1
Excursion Ars Electronica...........1
Introductory theoretical Courses....4
ArtScience Colloquium...............2
Participation in ArtScience Labs....8
participation in ArtScience..........
research project....................7
Master Meetings.....................4
Individual study trajectory..........
(individual researchplan)..........18
Presentation 1......................8
Presentation 2......................8
YEAR 2
ArtScience Colloquium...............2
Participation in ArtScience Labs....8
Master Meetings.....................4
Writing Assignment..................4
How to Survive the World Outside....2
individual study trajectory..........
(individual research plan).........12
Presentation 3......................8
Presentation 4: Final................
examination project................20
Staff at the ArtScience Interfaculty
Head of Interfaculty
Joost Rekveld

Coordinator
Leonie Zweekhorst
Core teachers
Cocky Eek
Arthur Elsenaar
Edwin van der Heide
Kasper van der Horst
Michiel Pijpe
Robert Pravda
Joost Rekveld
Horst Rickels
Joel Ryan
Taco Stolk

Guest teachers
Nadine Bongaerts
Eva Brinkman
Lex van der Broek
Sonia Cillari
Evelina Domnitch
Wim van Eck
Dmitry Gelfand
Vincent van Gerven Oei
Marcus Graf
Gosse de Kort
Katinka Marac
Nenad Popov
Sanne van Rijn
TeZ (Maurizio Martinucci)
Frank Theys
Caro Verbeek
p.169
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
4.4 Film and Photographic Studies
(MAFPS)
Film and Photographic Studies – a
specialization of the MA Media
Studies – is a unique programme in
The Netherlands that integrates
science and art. The master is initi-
ated by the Institute of Cultural
Disciplines, the department of Art
History and the Print Room of Leiden
University Library and the Royal
Academy of Art in The Hague.
A high degree of cross-discipli-
nary thinking is encouraged, as is
witnessed by the close collabora-
tion with the Department of Art
History and other departments of
Leiden University as the Print Room/
Division of Special Collections
of the Leiden University Library.
The various courses are offered by
means of lectures, meetings, semi-
nars and excursions and through
self-study based on specific texts
or photographic objects, (histor-
ical) photographic sources and films
and in-depth analysis of history and
criticism of photography, film, and
video.
Introduction
Film and Photography are currently
the focus of considerable interest.
The Amsterdam Film museum, during
more than sixty years of its exist-
ence, has built up a reputation with
an appealing and daring programme.
Photography museums have been estab-
lished in Rotterdam, The Hague and
Amsterdam. Moreover, articles on
photography regularly appear in the
art pages of leading newspapers. Art
museums and university libraries pay
more and more attention to their own
photo collections. Furthermore, the
Leiden University Library houses
one of our country’s oldest and most
complete photo collections.
As a result of this increasing
interest, there is a growing need
for well-trained individuals with
specialist knowledge in this field.
These individuals are professionals
who can approach and analyse film and
photography both as independent media
and in relation to other disciplines.
The master specialization in Film
and Photographic Studies at Leiden
University is the only programme
that focuses specifically on film
and photography while maintaining an
interdisciplinary approach as well
as providing academic (intellectual)
skills.
Areas of attention
The master specialization in Film and
Photographic Studies aims to provide
you with a broad academic and social
orientation on film and photography
as well as insight into research
about photographic practice and
history of film. Particular areas of
attention include:
/ interdisciplinary methods in
the academic study of film and
photography;
/ theories of film, photography and
video;
/ the significance of film and
photography as a means of
communication and a mass medium
with specific underlying strategies;
/ the interconnections among film,
photography, video, visual culture
and other forms of visual art;
/ the forms of presentation for
film and photography (exhibitions,
internet, publications, reviews,
etc.);
/ film and photographic practice as
research;
/ strategies in the field of
collecting, conservation and
management.
As a result of the increasing
interest in film and photography and
the growing role played by film and
photography in society, the surround-
ings in which film and photography
can be investigated are increasing.
Therefore, recent developments such
as digital photography and new media
are also discussed in the programme.
p.171
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
4.5 I NSI DE Interior Architecture
(MDes)
INSIDE: Design for the real world
(Victor Papanek)
The Royal Academy of Art in The Hague
launched INSIDE, an entirely new
Master Interior Architecture since
September 2011. This internationally
orientated course is a meeting place
where students, designers, theoreti-
cians, architects and critics partic-
ipate on broadening and deepening the
content of interior architecture and
contribute to solving social issues
that really count.
INSIDE is a two-year, full-time,
English-taught programme, which
targets the real world, a world that
is changing. Large-scale interiors,
a changing relation between private
and public space, sustainability and
a greater demand for social cohesion
are themes that call for new forms of
interior architecture.
The content of INSIDE is focused on
an annual social theme and a set
of problems of residents or users
of interior architecture. Sustain-
able, humane solutions for problems
are developed and presented through
research, conceptualisation and
spatial design.
More information
Visit the website www.enterinside.nl or
mail at [email protected]
If you have any further questions,
please contact:
Royal Academy of Art
INSIDE, MA Interior Architecture
[email protected]
Head of the master programme
Hans Venhuizen
Programme Coordinator
Marja van der Burgh
The team of internationally orientated architects,
designers and theoreticians:
Elma van Boxel and
Kristian Koreman (ZUS) URBAN
Anne Holtrop INTER
Jan Jongert (2012 Architecten) FLOWS
Jan Konings SPACE
Other people involved in the programme:
Bert van Meggelen
Arienne Matser
Timo de Rijk
Ellen van Loon
p.173
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
4.6 Introduction (MMus)
The Master Artistic Research (MAR)
is a two-year interdisciplinary
Master Trajectory for Research in
the Arts for students working in the
field of visual art and/or music. The
programme is a collaboration between
the Royal Academy of Art and the
Royal Conservatory in the Hague, and
was established in September 2009.
The articulation of artistic research
as a demarcated activity emerged
in relation to questions regarding
whether artists produce knowl-
edge, and if so, how this knowl-
edge relates to academic knowledge.
Artistic research makes space for
research in the arts by artists (as
opposed to research about the arts
by non-artists). From the point of
view of academic discourse, artistic
research facilitates more insight
into artistic practice. For artists,
and for students participating in the
course, the primary goal of artistic
research is the further development
of artistic practice.
Visual artists and musicians have
always researched, without it being
named as such. Artists working in the
field of artistic research are taught
to develop a heightened self-reflex-
ivity about their artistic practice,
to explicitly position their prac-
tice in relation to wider artistic
and non-artistic discourses and to
expand their knowledge bases into
areas that fall outside of the realms
of art discourse, but are relevant to
their individual artistic practice.
The Master Artistic Research extends
students’ research skills, including
the ability to gather relevant mate-
rial, to undertake close reading,
listening and looking, to locate
and understand connections within
and across that material and to make
informed judgments about the value
and relevance of ideas from sources
external to their practice. They
learn to use insights gained through
reflection to improve their artistic
work. The result of the research
is, in the first place, an artistic
product in the broadest sense of the
word.
The Study Programme
The research proposal of each indi-
vidual student, submitted on appli-
cation to the course, forms the
point of departure for the two-year
Master trajectory. This proposal
outlines areas of specific interest
for investigation as well as areas
of practice that the student would
like to further develop, extend or
break open. This proposal is revis-
ited and revised during the course of
the study, and results typically in
a series of artistic products rather
than an academic research outcome,
unless the student explicitly wishes
to undertake a formal written thesis.
The methodologies artistic research
entails are as diverse as artistic
practice itself. Research methods
used by students of the Master
Artistic Research include inter-per-
sonal dialogue, reading artists’
writings, critical texts and academic
essays, gathering aural, visual and
physical materials, forming image-
based, textual, musical and sound
archives, watching and making films,
doing interviews, visiting exhibi-
tions, attending performances and
carrying out collaborative experi-
ments with people in other fields.
An exploratory, focused approach to
these activities and the contin-
uous further development of lines of
enquiry define them as research.
The study is conceived as being 60%
‘practical’ (practice and research)
and 40% ‘theoretical’ (exploration
and research). In real terms, these
activities are approached as an inte-
grated practice. It is understood
that the status of what constitutes
research or an artwork can be fluid.
Students are provided with the oppor-
tunity to develop, strengthen and
reflect on the relationship between
practice and theory in their work
p.175
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
through ongoing dialogue with their
allocated practice and theory tutors
as well as their fellow students. One
important focus of the core teaching
curriculum lies in developing the
appropriate form for the work in
process, based on the demands of the
content of the material being worked
with. Students are provided with a
working space and have access to all
of the general workshop facilities
of the Royal Academy and the Royal
Conservatoire.
During the course students learn to
develop their critical reflection on
their own work and areas of interest,
to analyze and explore their ideas
and findings, to communicate these
with others through speech and on
paper. The research trajectory is
documented and explored through a
series of research reflection papers,
in which students reflect on and
analyze their unfolding artistic
process, exploring external input
from within the course programme
as well as outside. These reports
provide insight into the departure
points, methods and outcomes of the
artistic process and form an impor-
tant basis for dialogue with tutors.
They encourage students to think
about what they have done, what they
might have done differently, how
they feel about the process, and how
they might change it to extend their
learning curve, using insight gained
through reflection to improve their
own and other students’ work.
All students participate in one
artistic research group, a small
cluster of students guided by
specialized theory and practice
tutors to engage with a shared area
of interest (eg. Art and politics).
They work together weekly through
group dialogue, engagement with
each others’ practices and that of
relevant artists and thinkers. The
students follow a number of related
workshops per year and work together
towards a collaborative event and
publication. Each research group is
supported by guest lectures and pres-
entations, as well as studio visits
by practitioners within the fields of
music, art and other disciplines such
as choreography or academic fields
that are relevant to the work of
current students.
Additional guest lectures support
artistic development at large. There
are also guest lectures and workshops
organized to address professional
practice skills, such as the process
of applying for funding or residen-
cies.
During the course of the academic
year, a number of exhibitions and
events are organized during which
students can practice presenting
their work at a professional level.
These events are guided by core
tutors and sometimes by a curator or
other expert from the field. Students
are asked to critically reflect on
the process and outcomes of these
events, treating them as a learning
opportunity as well as a means to
disseminate their work to a wider
public. These exhibitions and events
take place within the galleries and
auditorium of the Royal Academy of
Art as well as at selected external
venues.
The Master Artistic Research has a
close working relationship with the
Academy of Creative and Peforming
Arts. Students are invited to partic-
ipate in selected courses and events,
fostering the students’ involvement
in a wider artistic research commu-
nity and introducing Master students
to discourse at PhD level. The Master
Artistic Research in The Hague also
collaborates in organizing an annual
exchange with students of the Master
Artistic Research in Amsterdam with
a view to further extending this
research community. Students are also
occasionally invited to attend and/or
participate in related conferences or
events related to artistic research.
p.176
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
The Musical Dimension of the course
The Master Artistic Research course
offers a research environment for
expanded practice. For visual artists
it can open up or further develop an
engagement with sound and perfor-
mance. Some of the students’ prac-
tices operate on the borderline
between music and art. For these
students it offers a chance for a
deeper dialogue, for critical reflec-
tion on the significance of this
position, and for a greater level of
expertise in the field that has not
formed their primary working back-
ground.
Other students express the wish to
extend their media into the field of
visual art or music. For a visual
artist, the musical dimension of the
course can allow further develop-
ment of areas of their art practice
that touch on sound – such as the
development of sound for installa-
tion art works or producing experi-
mental sound to accompany video and
film work. Music can also offer the
means to establish entirely new ways
of working. This includes exploring
sound as a medium in itself,
including the creative potential of
instruments and the voice, as well as
allowing the ideas and methodologies
related to musical composition and
performance to trigger new lines of
artistic thinking. Visual artists can
participate in selected courses at
the Conservatoire to increase their
knowledge about specific areas, as
well as having individual guidance
from music tutors.
For the musician access to visual
art’s wide variety of media and ways
of working opens up new creative
possibilities for an expanded music
practice. This includes the reper-
toire of performance art, which can
extend and challenge conceptions of
performance in music, as well as the
use of video and other visual media
under the guidance of artists who are
familiar with its creative scope. It
includes the potential of working in
space and the possibility of using
sculptural or choreographic elements
within an expanded musical practice
as well as considering the percep-
tual arenas the use of the visual
opens up. Experimental musicians can
gain support to develop their video
documentation of live performance,
experiencing how artists use documen-
tation to form new work in its own
right.
Through theoretical seminars and
guest lectures as well as core
teaching, musicians are exposed to
new discourses coming out of the
field of art specifically as well
as wider cultural theory, which can
inspire new areas of work and support
the musician to articulate complex
areas of their practice. They are
guided individually in this process
by a theory tutor with an interdis-
ciplinary professional background as
well as by a writing tutor.
The Master Artistic Research offers
a supportive environment for the
creation of collaborative works
and the establishment of collabora-
tive practice. To date the resulting
artistic output can be positioned
on the borderline between art and
music, being received differently
but with interest by audiences from
both fields. Students also take part
in wider interdisciplinary activi-
ties within the Royal Conservatoire,
including MAsh_UP (an interdiscipli-
nary platform within the Conserva-
toire) and C.A.S.S. evenings (a plat-
form for students of Composition,
Artscience, Sonology, MAR).
General learning objectives
/ The Master Artistic Research
teaches students to critically
reflect on and analyze their
artistic practice to develop
their artistic output to a
level suitable for autonomous
professional practice in the
fields of music and/or visual
art.
p.177
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ Students are led to explore
an expanded field of practice,
extending into new areas and
further developing aspects of
their practice that may have
received limited support due
to the restrictions of their
disciplinary backgrounds.
/ Students learn to position their
practice within wider debates
within their respective fields
and in relation to wider social
and academic discourses.
/ Students are taught how to
present their artistic work
within the professional context
through the putting together of
exhibitions and events, with
critical reflection and input
from tutors and professionals in
their field.
/ The Master Artistic Research
teaches students discursive
written and oral means to
communicate their practice and
disseminate their research to
audiences within and outside of
their field.
Study point requirements
Master Artistic Research students are
obliged to carry out the following
activities to fulfill their study
point requirements for graduation:
/ Attend regular individual
tutorials and group classes with
practice and theory.
/ Regularly present new works
to tutors and fellow students
to demonstrate the student’s
artistic evolution and the
relationship between his/her
research process and artistic
work.
/ Write or digitally record
reflection papers on his or
her artistic development and
research trajectory.
/ Actively participate in one
artistic research group,
attending the related meetings,
guest lectures, theoretical
seminars and workshops.
/ Attend a general guest programme
of lectures and seminars.
/ Periodically exhibit or perform
new work in MAR exhibitions and
events and actively contribute
to the organization and putting
together of these events.
Cooperation with Leiden University
Together the Royal Academy of Art and
the Royal Conservatoire constitute
the University of the Arts in The
Hague. There is also close coopera-
tion with the Academy of the Arts of
the University of Leiden, which makes
it possible for students of the Royal
Academy of Art and the Royal Conserv-
atoire to take optional subjects or
to follow minor or master programmes
at the university.
The Royal Academy of Art in The Hague
also hosts two unique, high-quality
Ph.D. trajectories: in fine art and
design, leading to a PhArts, and in
music, leading to a DocArtes. The
PhDArts programme for Research in
and through Artistic Practice offers
artists the possibility to obtain an
international doctorate in art and
design. PhDArts is a collaboration
between the Leiden University Academy
of Creative and Performing Arts and
the Royal Academy of Art.
Application
The Master trajectory is officially
enrolled at the Royal Conservatoire,
as a research path of the Interfac-
ulty ArtScience. Practically this
means the student is officially
registered at the Royal Conserva-
toire, even if the study direction is
visual arts. At the completion of the
study the student will receive the
title Master of Music.
For admission to the master trajec-
tory, a Bachelor in one of the
disciplines of the arts from a Dutch
university of applied sciences (HBO
/ Hogeschool) or an equivalent Bach-
elor of Arts diploma earned abroad is
required, as well as a demonstrable
p.178
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
affinity with theoretical research
and / or artistic reflection. English
is the working language of the master
trajectory, and proficiency in both
speaking and writing is required.
Applications and motivation letters
should be written in English.
When these entrance requirements are
met, the applicant is judged on the
basis of: a portfolio of artistic
work, a research proposal and / or
study plan, in which an understanding
of, and affinity with research
are clearly evident as well as an
interview about his / her work and
affinity with research in the arts.
How to apply
Please visit our website
www.masterartisticresearch.eu and send the
following documents and materials to
[email protected] before 1 April 2014:
/ completed application form;
/ portfolio (in PDF format. If
the portfolio is too large to
send by email, it can be send
by regular mail to the address
below on CD-ROM or DVD, or by
using WeTransfer or a similar
service);
/ in addition please send these
documents by post to the address
below:
› a photocopy of your diploma(s)/
degree(s);
› a photocopy of the relevant
pages of your valid passport
(showing passport number
and expiry date) or EU/EEA
National Identity Card;
› recent passport photo (3×4 cm;
please write your name on the
back. Only original photos!
Photocopies are not accepted);
› OPTIONAL: portfolio (only if
the portfolio is too large to
be send through email).
We do not accept incomplete appli-
cations. All documents sent by post
should be in our possession on 1
April 2014.
p.179
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
4.7 Media Technology (MSc)
Media Technology Master of Science
(MSc) is a joint initiative of the
Computer Science programme of the
Faculty of Mathematics and Natural
Sciences, Leiden University and the
Interfaculty ArtScience. It provides
a place where students, artists and
researchers are given the opportu-
nity to formulate their own personal
research questions. The participants
are encouraged to translate their
personal inspiration and curiosity
into manageable and relatively small
research projects.
The programme acknowledges that
creativity is an important factor
in scientific innovation. It there-
fore wants to provide a place where
students, artists and scientists can
do research by finding innovative
solutions for questions - inspired
by results and principles of science.
In order to achieve this objective,
the curriculum focuses on crea-
tive discovery and understanding of
science and technology. Students
are encouraged to make use of the
extensive knowledge available at
Leiden University and the ArtScience
programme of the Royal Academy of Art
in The Hague.
Keywords of the Media Technology
programme are creativity, technology
and scientific research. We want to
encourage innovation and creativity
in scientific research. It can be
said that Media Technology trains
autonomous scientists; just as art
academies educate autonomous artists.
The Media Technology programme
prepares students for a future in
which creative and critical thinking
play an important role, and in
particular a future in scientific
research. On graduating, students
receive a Master of Science (MSc)
degree from Leiden University, an
internationally acclaimed title.
Alumni occupy positions ranging from
PhD candidate to creative entrepre-
neur. In general, science and the
creative industry are the clients of
our students. Actually each position
where creativity is combined with
scientific thinking is appropriate
for our alumni.
English
The programme is entirely taught
in English. This allows students,
teachers and artists of different
nationalities to participate. All
lectures, discussions, presentations
and reading materials are in English.
More information
For more information on the master’s
programme Media Technology please
contact:
Annebeth Simonz
telephone number: +31 (0)71 5276994
Email address: [email protected]
For course descriptions, examples
of projects and other information,
please visit our website:
mediatechnology.leiden.edu
p.181
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
4.8 PhDArts
PhDArts offers an international, high-
level doctorate in art and design.
The PhDArts research trajectory
consists of two elements: indi-
vidual research and participation
in the doctoral study programme. An
appropriate team of supervisors is
sought for each doctoral student.
The doctoral study programme, which
consists of lectures, seminars,
trainings, and workshops, is an
essential part of the research envi-
ronment in which the student under-
takes his or her research. PhDArts is
a collaboration between the Leiden
University Academy of Creative and
Performing Arts and the Royal Academy
of Art (KABK) in The Hague.
PhDArts is a platform for artists
who consider theoretical reflection
and artistic practice as intrinsi-
cally related and complementary to
each other. Together with a team of
supervisors, staff members and guest
teachers, the doctoral candidates of
PhDArts form an inspiring and chal-
lenging research environment. As a
unique programme in the Netherlands,
PhDArts creates new possibilities for
art and its practitioners by ques-
tioning and breaking down existing
boundaries between the disciplines of
art theory and practice.
About PhDArts
In practice-based research, or
research in and through art, prac-
tical action (the making) and theo-
retical reflection (the thinking) go
hand in hand. The one cannot exist
without the other; in the same way
that action and thought are inextri-
cably linked in artistic practice.
This type of research does not have
a predetermined methodology. It has
an open character, which is deter-
mined by the desire to reflect one’s
art or design practice, in collab-
oration with others. Research has
always been an integral part of the
artistic practice of visual artists
and designers, but over the past
decades, attention for the research
aspect of art and design practice has
increased. Contemporary artists and
designers often position themselves
as researchers in both the social
and the artistic field. In some cases
the research has become the art work
or design itself; matter and medium
function as the instruments in the
research or ‘thinking process’.
The artist/designer-as-researcher
distinguishes himself from other
artists by taking it upon himself to
make statements about his thinking
process and the production of work.
The researcher allows others to
participate in this research process,
entering into a discussion with
others and opening himself up to
critique. The researcher seeks the
discussion in the public domain.
Without public discussion and the
exchange with peers the research
lacks its reason for existence. When
this exchange takes place in an
academic context, within the frame-
work of research for a PhD, certain
conditions apply. For example,
the research needs to yield fresh
insights, not merely into one’s
personal work but into art or design
in the broader sense as well. Super-
vision plays a crucial part in crit-
ically evaluating the contribution to
the artistic domain.
Language, in whichever way, plays
an important part in the research.
Without language it is impossible to
enter into a discourse. Inventing a
language which enables the researcher
to communicate with others and
which enables the evaluation of the
research is as important as devising
a viable research methodology.
PhDArts doctorate
Research in and through art is an
inseparable part of the artistic or
design practice of the researcher.
Consequently, research-in-art (as
opposed to research about art, such
as art history) does not have a set
p.183
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
goal or expected result, nor are
there predetermined general proce-
dures. The outcome of the research
is open. This openness is a condition
for conducting research in art and
design.
There is a unique relationship
between the artist/designer, the
research method and the outcome of
the research. This research is only
possible thanks to the artist’s
artistry and, the other way round,
the artist develops his artistry
through the research. The outcome
is therefore an artistic product,
combined with a discursive product,
the dissertation, which does justice
to the artistic one.
This final result of this type of
research, which is by its nature
speculative, cannot be restricted to
one particular form. The criteria for
the form the research may take are
therefore kept as open as possible.
Also, there is no fixed ratio between
dissertation and artistic production.
The requirements that the research
must satisfy and the researcher’s
methodology derive in part from
the assignment that the artist or
designer has given himself.
Certain conditions apply to the
PhDArts doctorate. A high level of
artistry/design is a prerequisite
for acceptance in the PhD programme.
The applicant should have a clear
research theme as well as a research
plan. In addition, the context of the
research should be clearly described.
The research should offer new
insights, not only in the work of
the maker but also in art and design
in the broader sense; the research
should contribute to knowledge about
art/design and the international
discourse in the field of research.
The researcher is expected to be
in the vanguard of his field of
research.
The research must take place in an
appropriate research environment.
Experimentation is an important part
of both the process and the result.
Critical engagement is inseparably
related to the research theme and its
results.
The final product must be communi-
cated both visually and in writing,
and thought and reflection must be
clearly present in several ways.
Firstly, a report on the research
project must provide insight into
the departure points, methods and
results. Secondly, the work itself
must be deliberative: reflection must
be an intricate part of it. Research
that fulfills these conditions will
be innovative and relevant to contem-
porary developments in the world of
art and design.
At the end of the PhDArts trajec-
tory, the work must be presented to a
committee of experts for evaluation.
As part of the research, the doctoral
student is expected to attend the
doctoral study programme, including
the various evaluations. The student
should actively and passively partic-
ipate in conferences (lectures,
papers, conference reports) and
events. In addition to this, the
doctoral student should periodically
exhibit new artwork to illustrate the
artistic evolution and the relation-
ship between the research and the
artistic work, as well as publish
writings on one’s work, development
and research.
PhDArts doctoral programme

The PhDArts doctorate programme
consists of individual research and
the doctoral study programme.
Individual research
Each research trajectory is indi-
vidually supervised. The role of
the supervisors consists of helping
students to develop a suitable
p.184
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
research environment. The super-
vising team consists of the Directing
Supervisor and one or two assisting
supervisors.
The Directing Supervisor is the
main person responsible for the
student’s supervision. He or she is,
in principle, selected from within
the institute. One or two supervi-
sors, who are experts in specific
aspects of the research, assist the
Directing Supervisor. After admis-
sion, the doctoral student chooses
the assisting supervisors in consul-
tation with PhDArts staff. The choice
of the assisting supervisors has to
be practically feasible.
The tasks of the supervisors include
continuously monitoring the quality
of the research by keeping close
track of the student’s progress and
by supplying the necessary research
methods and tools to sharpen the
student’s critical approach to his
research.
The supervisors also follow the
student’s preparations for presenta-
tion moments and the final pres-
entation by ensuring that there is
a good balance between written text
and art-specific means, so that the
research results may be communicated
in an optimal fashion.
Furthermore, the supervisor guarantees
the required in-depth investigation
and broadening of the research topic,
as well as possibilities for contex-
tual research and frames of reference.
Also, the supervisor ensures that
there is a proper balance of artistic
work and reflection.
The doctoral study includes a number
of presentation moments throughout
the course of the research, among
others in the form of a Qualifying
Hurdle after the first year, Annual
Progress Reports in the subsequent
years, and finally a public pres-
entation and a public defense of the
results of the research.
PhD students are responsible for the
progress of their research. It is the
student’s task to update the super-
vision team on his development and
notify them of his presentation and
evaluation moments. It is up to the
student to initiate and maintain the
contact with his supervisors and the
PhDArts directory.
Doctoral study programme
The doctoral study programme is
supplemental to the supervision of
individual research in the PhDArts
research trajectory.
The research community enables PhD
students to exchange ideas. It is a
framework which stimulates construc-
tive and content-based criticism of
the work of the students among them-
selves and with supervisors, visiting
lecturers and staff. The research
community is an important expan-
sion of the possibilities for the
undertaking of one’s practice and an
expansion of the discourse.
The study programme in the fall
semester (September – December)
includes an aesthetics and philos-
ophy of science course, and a course
covering presentation and information
training and writing techniques, with
presentations by and discussions with
researchers from various disciplines.
In the spring semester (January –
June), the study programme consists
of monthly meetings of one or
multiple days. These meetings take
place in the form of workshops or
colloquia. Workshops consist of
presentations by and discussions
with prominent visual artists and
designers as well as with theorists,
in combination with presentations
by students. During the workshops
theoretical aspects of the research
will be explored. During the end of
year colloquium students present on
the progress of their research for
their fellow candidates, and exchange
ideas, thoughts and experiences.
Students are expected to attend the
p.185
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
colloquium throughout the entire
duration of their doctoral study
and to attend at least half of the
courses and training sessions in
the first semester and half of the
workshops in the second semester.
Precisely when this happens is up to
the student, but it is advisable to
follow courses and training sessions
at the beginning of one’s doctoral
study. It is recommended to attend
the full study programme.
The research community is formed
during the doctoral study programme,
and also through the research facil-
ities offered by PhDArts. These
facilities differ depending on the
research project. They include access
to libraries, availability of studio
spaces for presentations and of
equipment and computer facilities,
and cooperation with partner institu-
tions.
Admission
The yearly application deadlines for
PhDArts are 1 April and 1 October.
Accepted applicants can join the
programme in September or January of
each year.
Applicants must have a Master’s of
Arts degree or proof of study at
a comparable level. English is the
working language of PhDArts, and
proficiency in both speaking and
writing in English is required.
Because PhDArts is a practice-as-re-
search doctorate, the applicant must
first and foremost demonstrate that
he is a highly accomplished practi-
tioner in some aspect of the arts
and/or design.
On a theoretical level, the applicant
has to demonstrate that his ideas are
already quite well-formed and that he
has begun to place his own contribu-
tion within the context of existing
research or innovative practice. The
applicant will need to show a strong
sense of intellectual curiosity and
be able to justify what the urgency
for this particular research is.
The application process consists
of two phases. The first phase is
the assessment of the applicant’s
research dossier. The research
dossier will be assessed by an Advi-
sory Group, with representatives from
the Royal Academy of Art The Hague
and Leiden University (Academy of
Creative and Performing Arts). In the
case of a positive assessment by the
Advisory Group, the applicant enters
the second phase of the applica-
tion process, and is invited for an
Entrance Examination. The Entrance
Examinations take place at the Royal
Academy of Art, in The Hague.
Applicants must put together a
research dossier for the application
procedure. The application must be
written in English.
The research dossier consists of
three elements:
/ Application form
/ Detailed curriculum vitae
/ Portfolio
For more information on the programme
and application procedures please
visit: www.phdarts.eu
p.186
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
5.1 Research Domains
What is a research domain?
Research domains (in Dutch: lector-
aten) are the research groups of
Universities of Applied Sciences,
whose purpose it is to make connec-
tions in socially relevant areas
between education, practice and prac-
tice-based research. The appointed
professor leads a research group,
which consists of a number of visual
artists, designers and theorists
from various disciplines. Addition-
ally, contact is kept with those
who are active or do research in the
field of the research domain. People
both inside and outside the academy
can contribute to the research of
a research domain. Sometimes also
students work on (research) projects
in the context of their study
programme. Research domains share
knowledge with companies and institu-
tions, conduct applied research and
develop new knowledge in co-produc-
tion. They maintain partnerships with
companies and institutions on local,
regional, national and international
levels.
5.2 Research domain Art Theory
and Practice
Head of Lectorate: Janneke Wesseling
Since 1 February 2007 Janneke Wesse-
ling has been professor and head of
the Lectorate Art Theory and Practice
at the University of the Arts. She is
co-director of PhDArts, PhD programme
for visuals artists and designers
at the Academy of Creative and
Performing Arts at Leiden University.
Wesseling also writes as art critic
for NRC Handelsblad.
The Lectorate ‘Art Theory and Prac-
tice’ researches how to naturally
connect art and theory in art educa-
tion. This occurs on a BA, MA and
PhD level, at the University of the
Arts and at the Academy of Crea-
tive and Performance Arts at Leiden
University. An example is the
honours programme initiated by the
Lectorate, which offers interdisci-
plinary workshops for BA students.
Wesseling organises pilot projects
in which education in art practice
and art theory are integrated, in
close cooperation with the different
art departments of the Royal Academy
of Art. Aditionally, the Lectorate
organises symposia, workshops and
lectures with different partners in
the field of artistic research.
Research in and through art, or
artistic research, is becoming more
and more important in art education.
This is a consequence of the fact
that both artists and theorists are
increasingly focusing on the theoret-
ical aspect of the artistic practice
and the cognitive function of the art
work: art as a tool to gain knowl-
edge about reality. The artist-as
researcher has become a familiar
phenomenon. The practice of contempo-
rary artists is, in many cases, char-
acterised by a continuous reflection
on the artist’s own actions.
The attention for theory and research
is accompanied by the re-structuring
of higher education. The establish-
ment of the Bachelor/Master struc-
ture on a European level asks for
reflection on the research content
in artistic practice. Wesseling’s
Lectorate plays a pioneering role in
the reciprocal exchange between art
education and research.
5.3 Research Domain Interior
Architecture: Inside Flows
Researcher/Lector: Jan Jongert, 2012Architecten
Contemporary interiors increasingly
depend on a complex of connecting
flows. The researchgroup ‘inside
flows’ investigates the specifica-
tions and behaviour of these flows to
support the development of sustain-
able designmethods.
p.189
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
From at least 13 different flowtypes
varying from energy, water and food
to knowledge, money and users, prac-
tical knowledge will be developed for
application in design and research.
Next to their content, as well the
means to represent flow-systems will
be subject of research. Conclusively
the research group supports the
flow of knowledge within the Master
course, providing a knowledgebase/
encyclopedia and connecting different
student projects by giving access to
the accumulating knowledge from the
perspective of flows.
5.4 Research domain Innovative
Visualization Techniques (IVT)
Professor:
Yolande Kolstee
Support and junior researchers:
Reba Wesdorp and Mariana Kniveton
Research domain Innovative
Visualisation Techniques (IVT)
The research domain Innovative
Visualisation Techniques in art
education focuses on the role and
significance of innovative visualis-
ation and interaction techniques in
art (and design) education in rela-
tion to developments in the cultural
domain and the creative industry.
Never before were the possibilities
to realise artistic and creative
ideas with a computer as enormous
as today. This is not only because
of the increasing capabilities of
(mobile) computers, but also because
of increasingly user-friendly design
software. New visualisation and
interaction techniques are developing
rapidly worldwide, and offer, as new
media, unprecedented possibilities
for art and design. The new visual-
isation, interaction and production
techniques are an extremely fasci-
nating field of interdisciplinary
practice and research.
This includes, for example:
/ Computer-controlled equipment
such as 3D printing, 3D
scanning, laser cutter, milling
machines, textile machines;
/ Augmented Reality *) or other
forms of mixed reality;
/ Digital interactive
installations;
/ (Interactive) applications
(apps) for smartphones and
tablets (iOS or Android).
The research domain promotes learning
to use and experiment with new
(computer-controlled) equipment such
as 3D printers, while it simultane-
ously recognises the importance of
the old techniques.
Website Workshops
The research domain IVT has enabled
the development of a KABK Workshops
website, on which where all, old
and new, equipment of the academy is
listed in an organised manner.
Workshop Labs: Remediate
The overarching theme is Remediate.
There is a lot of literature avail-
able on this subject, from, for
example, J. David Bolter and Richard
Grusin. In very rough lines, it
concerns the incorporation of ‘old’
media in new media (e.g. film on
the Internet). The question is then
to research what is new about new
media and what its added value is
compared to existing media. This
theme is not accidental: the academy
might organise a major international
conference on this theme in 2015.
Per IST per block, one workshop
containing new equipment is central-
ised. Students will explore how they
can make one or more projects with
this new equipment/software, which
are then presented during a festive
concluding event; like for example
this year in cooperation with Studium
Generale lectures (just as at the
Pop-Ups).
p.190
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
The professor, the workshop manager
and possibly a guest lecturer super-
vise the labs.
Subscribe via the IST registration
system.
Other opportunities to work with
the research domain IVT:
Teachers:
Workshop Labs: Remediate
Projects:
Teachers can propose projects that
are relevant to the area of research.
Research:
Teachers can contribute by doing
research and write articles that
might be published in the AR[t] Maga-
zine or in another leading journal.
Teachers with ideas for the Work-
shop Labs: Remediate, projects or
research, or for an article, can
discuss this with Yolande Kolstee
([email protected]).
Students
Students can participate in different
ways:
/ Workshop Labs: Remediate
/ AR Lab projects in the IST
(7 Wednesdays), often in
collaboration with a museum
/ Own projects
/ IST course 3D Animation and
Interaction design
/ Thesis guidance
/ Internship
The mission of the research domain IVT is:
1. Knowledge development by under-
taking artistic, experimental,
scientific and market research on the
relevance of new visualisation and
interaction techniques for art educa-
tion, and expose the results to the
widest possible audience in a rele-
vant way for each type of research.
The research domain aspires to give a
boost to:
/ Students, to familiarise
them with new visualisation
techniques and their use in the
cultural field through projects
that often take place in a
museum context, for example in
the academy’s Augmented Reality
Lab (AR Lab).
/ Teachers, to inform them about
new technical developments in
the field visualisation and
interaction.
/ Fellow professors of research
domains, to increase the
importance in the academy of
doing research in different
fields, by collaborating with
external research domains.
Cooperation with TU Delft and Leiden University
We are working on an inventory of
courses/modules that are open to
Royal KABK students on AR and related
issues both at the TU Delft and
Leiden University.
2. Network expansion and consolida-
tion of a network relevant for the
professional practice in the field
of new visualisation and interac-
tion techniques in relation art (and
design) education.
The research domain IVT wants to
solidify and expand already existing
theoretical and practical collabo-
rations in the field of visualis-
ation and interaction techniques
between art education and (tech-
nical) science. We collaborate with
researchers from three different
faculties of the Delft University
of Technology (Robotics, Industrial
Design and Technology, Policy &
Management) and with researchers from
Media Technology at Leiden Univer-
sity.
The research domain also seeks to
promote international cooperation,
and does so, for now, mainly via the
AR Lab.
p.191
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
The network built up by the AR Lab
consists of artists and designers,
and also of museums, large and small
companies and numerous art events.
There is a close relationship with
the professional field, from which
frequent questions concerning the
application of new visualisation
techniques reach us on almost a
weekly basis.
Impact on art production and design
New visualisation and interaction
techniques, or production techniques,
have a great impact on the creation
of art, on improving the image of our
cultural heritage, on marketing and
graphic design and on several other
more technical areas. Particularly
graphic and interaction designers
will come into contact with it, and
photographers equally so. Spatial
designers in textile, fashion, inte-
rior and furniture design will also
be exposed to the techniques in
the future. For visual artists and
students of the ArtScience depart-
ment, it is a question whether it is
desirable and possible to make art in
and with the new visualisation tech-
niques.
Examples of already completed projects
in collaboration with the AR Lab:
/ The new visualisation techniques
are of interest to all
disciplines. Already in 2008
in Milan, at the Salone del
Mobile, virtual furniture and
fabrics were exhibited by the
department Interior Architecture
and Furniture Design and Textile
& Fashion.
/ Students from the Graphic Design
and Photography departments have
worked on, among others, an AR
set-up in the Kröller-Müller
Museum.
/ Students of the Fine Arts
and ArtScience departments
participated in a three-
month exhibition in the Museum
Boijmans Van Beuningen.
/ IMD Students participated in
an AR exhibition at the Escher
Museum in the Paleis.
/ Fine Arts and Graphic Design
students have been working with
AR and have even made it into
their graduation projects.
/ Students Industrial Design
designed a headset (‘eye-wear’)
for mobile AR for the second
time.
/ Mixed groups of students have
worked on exhibitions at the Van
Gogh museum and the Temporary
Stedelijk Museum.
/ ArtScience and Interactive/
Media/Design students worked
on an experiment with Layar
on mobile phones for the Open
Day in 2012. With different
students, and in collaboration
with the Norwegian College
Gjøvik, we made an AR game for
KLM for mobile phones.
/ In 2012, Fine Arts, ArtSience
and Interactive/Media/Design
students worked on a digital
visualisation at the performance
of an opera (the Walküre) by
Wagner in collaboration with the
Royal Conservatoire.
/ From June 2011 until the move
to the Hermitage in 2012, the
Van Gogh Museum held a highly
regarded application that was
developed by a group of students
from different disciplines.
/ Students of the Graphic Design
department collaborated with
the AR Lab, their professor
Gert Dumbar and Studio Maaike
Roozenburg, on the project
‘Smart Replicas’ Museum Boijmans
van Beuningen in Rotterdam
(opened in June 2013).
AR Lab (Augmented Reality Lab)
The research domain Innovative
Visualisation Techniques in art
education is closely linked to the
Raak-PRO project AR-VIP: ‘augmented
reality, visualisation, interaction
p.192
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
and perception’ of the AR Lab.
This project has as goal to enable
artistic, experimental and scien-
tific research aimed at developing
new content and ways of interaction
based on the technical possibili-
ties of modern interactive visualis-
ation tools such as AR. The research
primarily takes place in the AR Lab,
an experimental lab of the KABK,
based in the Bleijenburg building on
the first floor (BB.103).
The website of the AR Lab is:
http://www.arlab.nl
In the AR Lab, Wim van Eck is the
expert on 3D animation and applica-
tion development.
*) Augmented Reality is the real-time
adding of digital virtual images to
reality. Augmented means: increased,
enriched, added. The virtual images
are digital 3D objects or 3D scenes.
Digi-Drinks 2011-2012
In 2011-2012, the research domain IVT
organised five digi-drinks to get
to know the new workshops and/or new
equipment knowledge.
Pop Up Gallery 2012-2013
In academic year 2012-2013, students
and guest artists realized five
Pop Up Galleries under guidance of
teachers from:
Graphic Design, Photography, Fine
Arts and Interactive Media Design. A
special Pop Up Gallery was made into
a contest to generate Victory Boogie
Woogie in code on a display. This
competition was organised by Wiskun-
demeisjes, the Gemeentemuseum, and
Set-Up. The Code Lab from the ArtSci-
ence department delivered various
works during this Pop Up.
5.5 Research in the Arts
Professor: Henk Borgdorff
Henk Borgdorff is Professor in
Research in the Arts at the Univer-
sity of the Arts, The Hague. Since
1 September 2010, he combines this
position with a Visiting Profes-
sorship at the Faculty of Fine,
Applied and Performing Arts at the
University of Gothenburg, Sweden.
In both positions he focuses on the
political and theoretical rationale
of ‘artistic research’. In this
emerging research field, the practice
of the arts (creating, designing,
composing, performing) is central to
the research process and art prac-
tices and products (images, composi-
tions, installations, performances
etc.) partly form the outcome of the
research.
In The Hague Borgdorff is one of the
project leaders of the project ‘The
Artistic Research Catalogue’. In
this project, funded by SIA-RAAK, 19
national and international partners
(among them Van Abbemuseum, Rietveld
Academy and Royal College of Art,
London) are building a digital plat-
form for the world wide documenta-
tion, exposition and distribution of
research by artists.
On behalf of The Hague he supports
the international Society for
Artistic research (co-founded by him
in Mach 2010); he will work as editor
of the Journal for Artistic Research;
and he will chair the ‘Valida-
tion’ working group of the Erasmus
academic network SHARE, which aims
to strengthen the third cycle in art
education in Europe. Borgdorff is
a member of the Strategic Working
Group on Research of the The Nether-
lands Association of Universities of
Applied Sciences (HBO-raad).
Henk Borgdorff occasionally gives
seminars in the doctoral programmes
DocArtes (music) and PhDArts (visual
arts and design) and in the master’s
programme Artistic Research at the
KABK.
p.193
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
5.6 Academy of Creative and
Performing Arts
The Academy of Creative and
Performing Arts is a collaborative
effort between Leiden University
and the University of the Arts in
The Hague. The University consists
of the Royal Conservatoire (KC) and
the Royal Academy of Art (KABK). The
Academy of Creative and Performing
Arts works on combining art and
academics. This offers many inter-
esting perspectives for students
in Leiden and The Hague, and for
teachers and other researchers who
are testing the boundaries of their
abilities and knowledge. In the
Academy of Creative and Performing
Arts, art and academics come
together.
Art education is mainly taught in
The Hague at the KABK and KC, and
academic education mostly at Leiden
University. For the practice course
in the arts admission requirements
apply. These requirements apply to
all performing and creative subjects
(vocal, instrumental, visual). More
information about registration,
admission and registration at Leiden
University, the Royal Conservatoire
and the Royal Academy of Art, can be
found online at: www.leidenuniv.nl.
Leiden University has more than
16,000 students and employs more
than 1,500 assistant professors and
academic staff. The programmes at
Leiden University are grouped into
five faculties: Archaeology, Humani-
ties, Medicine, Law, Social Sciences,
and Science.
The Academy of Creative and Performing
Arts publishes the curriculum and
other activities on its website. Both
the guide with the curriculum, infor-
mation about lectures and seminars,
and a prospectus with the programme
of the Master Photographic Studies are
available in writing. Please refer to
the website of www.hum.leidenuniv.nl
under ‘Education’.
The Academy Creative and Performing
Arts offers the following possibili-
ties:
/ electives at the Royal
Conservatoire (KC) and Royal
Academy of Art Art (KABK);
/ minors at the Royal
Conservatory;
/ PhD in the arts.
p.194
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
6. General study information
6.1 Educational Structure
The purpose of studying at the Royal
Academy of Art (KABK) is to prepare
students for the profession of
artist or designer. The educational
programmes have been designed to make
this feasible. The educational struc-
ture consists of the propaedeutic
year and the main phase, which is
divided into the main study phase and
the final phase.
Over the past couple of years, the
KABK has slowly incorporated compe-
tence-based education. The offered
programmes can be seen as a foreshad-
owing of professional practice. We
pay close attention to career orien-
tation and preparation. Important
to these aspects is the expectation
of an increasing degree of self-
study from the student. This is very
explicit in the case of the Indi-
vidual Study Trajectory. Addition-
ally, students are acquainted with
a wide range of different teaching
formats. A very important part of
career preparation is the internship.
6.1.1 Competences & Domains
Competences, or abilities, indi-
cate the coherent set of knowledge,
skills, attitudes and other personal
qualities of an individual that
enable him to adequately and success-
fully carry out tasks, and find and
apply solutions in a specific work
situation.
A student is competent, or is suit-
able for a particular job or assign-
ment, when he is able to effectively
integrate the appropriate knowledge,
skills, and attitude in successful
behaviour in specific situations. In
other words, the student should not
only know how and why something must
happen, he must also show he is able
do it. Competence-based art educa-
tion is characterised by an integral
approach to knowledge, skills and
attitude. It is an educational form
with a high degree of self-study
that is aimed at the future careers
of the students. The emphasis on the
students’ personal (talent) devel-
opment results in flexible education
with a variety of study trajecto-
ries. In the programmes, the profes-
sional field is always represented
by teachers who work as an artist
or designer in addition to their
teaching practice. Advisors and guest
lecturers from different disciplines
are frequently invited.
The following competences are
addressed in the programmes:
/ Creative ability
/ Capacity for critical reflection
/ Capacity for growth and
innovation
/ Organisational ability
/ Communicative ability
/ External awareness
/ Capacity for collaboration
Creative ability, capacity for crit-
ical reflection and capacity for
growth and innovation are the key
competences for art education. Situa-
tional awareness is equally relevant.
It stresses the importance of current
developments in professional practice.
The capacity for critical reflec-
tion and situational awareness have a
strong interrelationship. The differ-
ence is the respective internal and
external perspective. Organisational,
communicative and collaborative compe-
tence are the remaining competences.
Domains
The competences can be divided into
three areas (domains). These domains
overlap. The division focuses more
on a difference in emphasis within
the domains than on creating a sharp
demarcation.
p.197
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Artistic technical domain
In the artistic technical domain,
students specifically develop their
creative ability and the capacity for
critical reflection. These abilities
or competences are considered most
typical and important for the grad-
uating student in visual art educa-
tion. All art and design courses
develop the students’ abilities in
this area. Furthermore, this field
includes the capacity for growth and
innovation, which means that the
student’s artistic or design prac-
tice (the personal interpretation of
the professional situation) can be
further developed and deepened.
Theoretical domain
The making of art and design is
intellectual work. Art and design
are judged on the basis of artistic
objectives for their relevance to
(inter)national standards of profes-
sional practice. This means that
knowledge of the theory of the
profession is a necessary component
of the skill-set of the artist or
designer. This theory covers several
areas: historical and contempo-
rary art history, art theory and art
history related to the discipline.
The socialisation of the art and
design process also requires knowl-
edge of disciplines such as philos-
ophy, media history and communi-
cation science. We distinguish art
theory in this. Art theory, in this
sense, includes art history, philos-
ophy, art observation and artists’
theories, as well as special work-
shops and lectures guided by art
theory teachers. Also, the practice
teachers contribute by basing their
insights on theoretical arguments. In
the theory courses of the different
domains and disciplines, the history,
background and departure points of
the disciplines are further discussed
and analysed.
Professional social domain
This field involves almost all compe-
tences: capacity for critical reflec-
tion, capacity for growth and innova-
tion, organisational, communicative
and collaborative competence, and
also situational awareness. Art and
design have always had a strong foot-
hold in society, and are created as a
result of interaction with the social
developments in almost every area. In
almost all study components students
will therefore be faced with examples
of how things work in the practice
of an artist or designer. Part of
the career preparation is the busi-
ness element. This includes skills
like presenting work, dealing with
budgets, interacting with clients and
so on.
In the descriptions of the various
disciplines, the heading ‘profes-
sional/social domain’ focuses on the
business side of professional prac-
tice preparation. We want to ensure
that students are able to appro-
priately function as an artist or
designer after, or sometimes even
during, their education; whether
independently, as part of a partner-
ship such as an artists’ initiative,
or working at a design bureau or a
combination thereof.
6.1.2 Teaching formats
During their study at the KABK,
students are confronted with
different teaching formats.
Theory education
Theory education takes place in
various ways:
/ lectures;
/ seminars;
/ work discussions;
/ supervision of papers and the
final thesis.
The seminars include discussions,
analyses and debates at the hand of
contemporary and historical visual
material, exhibitions and texts,
presentations on theoretical subjects
and personal statements.
p.198
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Practice education
Practice classes are designed in
different ways:
/ Supervision and instruction for
the entire group, usually during
the first weeks of a course.
/ Collective work discussions and
progress meetings of teacher(s)
and students.
/ Studio-based supervision: the
teacher visits the student
at his workplace or studio
and discusses the work on
location. This can occur in
an individual and in a group
setting. Many senior students
of the Fine Arts department
have their own workplace in
the academy. Students of the
Textiles & Fashion and Interior
Architecture departments work in
shared studio spaces.
/ Workshop-based supervision:
students work independently and
with assistance in a workshop,
under the supervision of
workshop managers.
/ Work discussions: the teacher
discusses work of individual
students often in a group
setting, so that the students
can learn from each other.
/ Digital supervision:
especially in Graphic Design
and Interactive/Media/Design
students can be supervised
online when face-to-face contact
is not crucial.
Internship and other participation in
the professional field
Students intern at a company, insti-
tution or with an independent artist,
designer or photographer. In Fine
Arts and ArtScience less internships
are available, so instead students
take part in external productions and
projects.
Special activities: visiting exhibitions, project weeks,
excursions and workshops
In addition to, and integrated with,
the curriculum, a number of activ-
ities are organised each year. The
organisation of these special activ-
ities, such as workshops, projects,
excursions and project weeks, is
predominantly the responsibility
of the different departments. The
activities are therefore often disci-
pline-related.
For first year students an acade-
my-wide Propaedeutic Year Project
Week is organised.
Project weeks and excursions some-
times have a very specific purpose,
such as a visit to a fashion trade
fair, and sometimes a much broader
character, such as a visit to Berlin
or the Venice Biennale. In the latter
case, students from a not-organising
department can often participate as
well. The travel and accommodation
costs associated with the excursions
and project weeks are covered by the
participants. A contribution from the
School Fund is possible and is always
made collectively. Students may
submit proposals for an excursion,
project week or workshop to the head
of the department. Special activities
are also organised by ‘t Hart and
Studium Generale.
Activities ‘t Hart
‘T Hart organises lectures, film
and video screenings and discus-
sions in the KABK. ‘T Hart also
provides discounts on special theatre
and opera performances. Informa-
tion can be found, among others, at
the stand of ‘t Hart in the hall of
the academy. ‘T Hart organises many
activities in collaboration with
students.
If you are interested in this, please
contact Christie van der Haak:
[email protected].
p.199
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Studium Generale
The activities of the Studium
Generale (SG) are designed to broaden
students’ knowledge and keep them
up to date with cultural and social
developments. During the Studium
Generale activities, all students of
the KABK are invited to look beyond
the boundaries of their discipline:
to question the current events taking
place in the world around them, and
to be confronted with ideas from
other disciplines. By doing so they
develop a critical way of looking at
their own discipline, and they engage
in conversation with other students.
The exact content of the SG programme
for 2013-2014 will be published on
the website.
For more information about the
programme and participation please
visit: www.studiumgeneralekabk.nl
Self-study
Students work independently on their
art or design work for a large part
of the programme. This can take place
in the academy and at home.
6.1.3 Individual Study Trajectory
In the academic year 2004-2005, the
KABK established the Individual Study
Trajectory (IST) in the main phase of
the programme. The IST is focused on
the discovery and development of the
student’s fascinations and prefer-
ences, and his personal artistic
attitude. It is important that the
student discovers what his personal
possibilities and ambitions are.
Competence-based education requires
that students learn to set their own
learning objectives (self-study).
The IST-plan is an excellent opportu-
nity for students to customise their
studies.
The Individual Study Trajectory can
include the following:
/ taking one or more electives or
introductory courses at the KABK;
/ taking one or more elective
courses outside of the KABK;
/ participation in external
projects;
/ undertaking practice-based or
theoretical research;
/ enrolling in a minor at the
Academy of Creative and
Performing Arts;
/ engaging in various
organisational activities for
the KABK.
General proceedings
Each student makes a IST-plan at
the hand of the IST-form. The plan
describes the proposed activities,
motivation and learning objectives.
The IST-plan should be discussed with
the coach. In the conversation with
the coach the IST-plan is evaluated
on the basis of whether it can indeed
function as a broadening and/or deep-
ening of the study programme. If the
plan is approved, it can be started.
After the activity or activities, a
formal, external evaluation is carried
out (in case of, for example, the
minors and electives). In addition,
the student is asked to assess the
learning results and proceedings. The
coach provides a final assessment.
Practical information
Wednesdays are exempt from compul-
sory study components for full-time
students from the second year and
above. The Wednesdays are intended
for individual scheduling to deepen
and specialise the curriculum. To
this aim, the introductory courses
and electives are scheduled in on
Wednesdays. Part-time students are
also given space in their schedules
for the IST.
IST and the internship
The credits reserved for the IST in
the internship semester can be used
for the internship or for the contin-
uation of a minor.
p.200
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
IST credits (EC)
The Individual Study Trajectory does
not start until after the propae-
deutic year. 12 EC are allocated
to the IST per year. In total, this
amounts to 36 EC in three years
full-time programme and part-time
programme (new style). Please refer
to the appropriate discipline for the
relevant credit overview.
Credit allocation IST
The work carried out in the frame-
work of the Individual Study Trajec-
tory may not always be part of the
collective assessment. This is the
case when it, for example, concerns
a minor or elective at Leiden Univer-
sity. Students are then assessed
externally. The coach provides a
Credit Statement: a form that is
available at the Student Administra-
tion. After the final evaluation and
signing of the coach, the credits are
added to the collective assessment
form. The credits are allocated after
the collective assessment.
6.1.4 Electives
Internal Electives at the KABK
Since several years, the KABK offers
internal electives in the form of the
Studium Generale and the Practicum
Generale. The Practicum Generale
consists of electives, workshops and
introductory courses.
Introductory courses
The KABK offers a wide range of
courses that offer students an intro-
duction to a wide range of tech-
niques. Introductory courses are open
to students from all departments from
the second year and above. With the
approval of the coach, the introduc-
tory courses can be followed in the
framework of the Individual Study
Trajectory.
Keep an eye on the KABK website for
the up-to-date course offer:
www.kabk.nl/introductory.
The courses take place on Wednesdays.
The courses last seven weeks and have
a size of 2 to 3 EC.
Electives at Leiden University
For main phase students of the Royal
Academy of Art, the Royal Conserva-
tory and students of Leiden Univer-
sity, it is possible to reciprocally
follow electives at Leiden Univer-
sity, through the Academy of Creative
and Performing Arts.
Please note: A student who wishes
to enrol in an elective at another
institution must have the consent of
the examination committee of the host
institute and his own institute.
/ Up-to-date information can be
found in the electronic study
guide of Leiden University:
www.studiegids.leidenuniv.nl.
/ For more information on
electives at the KABK contact:
[email protected].
/ For more information on
electives at the Royal
Conservatoire contact:
[email protected].
/ For more information on
electives at Leiden University
contact the Student Affairs
Desk: +31 (0)71 527 8011
p.201
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Application and admission for
electives in Leiden
A: Electives at the Academy of
Creative and Performing Arts
The Academy of Creative and
Performing Arts has developed a
number of electives taught in Leiden
for students from Leiden and The
Hague, such as in Capita Selecta in
Early Music, History and Theory of
Printmaking, Music Theory, History
of Western Music, World Music,
Performing Arts, Multiform Typog-
raphy, Philosophy of Music etc.
Students can sign up for these elec-
tives at the secretariat of Leiden
University, email: secretariaat@
kunsten.leidenuniv.nl
B: Electives at other faculties of Leiden University
Students of the Royal Conservatoire
and the Royal Academy of Art in The
Hague can follow electives at Leiden
University. An overview of the elec-
tives that explicitly focus on visual
arts, music and dance, and infor-
mation on the management and policy
can be found on the website: www.
studiegids.leidenuniv.nl.
To participate in an elective,
students must be in possession of a
vwo diploma or should have success-
fully completed the hbo propaedeutic
year. Students who are enrolled
in the Conservatoire’s or KABK’s
Preparatory year, cannot follow elec-
tives at Leiden University.
To apply for an elective (a + b)
students follow the following steps:
/ Register at the
education secretariat
(onderwijssecretariaat) of the
department that offers the
elective.
/ Apply for a guest student card
at the Student Information
Centre Plexus, Keizerstraat 25,
Leiden, phone number:
071 527 80 11, email:
[email protected].
To sign up for an elective at Leiden
University the student must submit
the following:
/ Registration form (available
from the secretariat of
the Academy of Creative and
Performing Arts);
/ Permission, in writing, from
the student’s department at
the KABK or Royal Conservatoire
(available through the
department coordinator), stating
the students is allowed to take
this elective and a similar
statement from the department
of Leiden University where
the student wants to follow
the elective, stating that the
department does not object to
the student studying there;
/ Proof of payment of the
University of the Arts tuition
fee, to be obtained from the
student administration at the
KABK or Royal Conservatoire.
If all conditions are met, the
student can send the forms and the
statement to the Student Administra-
tion of Leiden University
(PO Box 9500, 2300 RA Leiden,
visiting address: Student Informa-
tion Centre Plexus, Keizerstraat 25,
Leiden, phone number: 071 527 80 11).
After registration the student
receives a guest student card. With
this card students can use the facil-
ities offered by the university, such
as the University Library and Black-
board, the digital learning environ-
ment of the university.
Electives at the Royal Academy of Art
Students from Leiden University who
want to follow an elective at the
Royal Academy of Art (KABK) need
to register in all cases with Dave
Willé, coordinator of the Academy of
Creative and Performing Arts at the
KABK, email: [email protected]
p.202
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Students need some experience to
participate in the electives. Admis-
sion is based on the successful
completion of an admission assignment.
When the student has officially
applied by sending in the application
form and has handed in the permis-
sion statement, he can apply for a
facility card.
Electives at the Royal Conservatory
Students from Leiden University who
want to follow both a practical and
a theoretical elective at the Royal
Conservatoire need to register in all
cases with the coordinator of the
Academy of Creative and Performing
Arts at the Royal Conservatoire,
email: [email protected].
In addition, students must officially
register as a guest student of the
Conservatoire. No additional costs
have to be paid to follow practical
and theoretical electives at the
Royal Conservatoire.
In consultation with the head of the
relevant department it is determined
how the student can best join a theo-
retical elective.
Practicum Musicae
(individual instrumental/vocal elective):
The student should perform at a
musical level that corresponds to
the basic level of a student enrolled
in the Preparatory Course of the
Royal Conservatoire. Furthermore,
the student should have the ability
to develop in such a way during the
first year of the Practicum Musicae
(PM1), that he reaches the same
level at the end of the elective year
as that of a student enrolled in a
Bachelor’s programme at the Royal
Conservatoire. Before a student is
admitted to the PM1 he has to audi-
tion, during which he is assessed
according to the above. A small
committee of teachers determines
whether the student will be accepted
into this course.
6.1.5 Minor Programmes
The minors available in the academic
year 2013-2014, which are offered in
particular for students from Leiden
University, can be found on:
www.studiegids.leidenuniv.nl.
Minor Entrepreneurship in the Arts
The minor is offered in collaboration
with the Centre for Business Studies
at the Leiden University. Every
second year student of the Royal
Conservatoire or Royal Academy of
Art in possession of a propaedeutic
diploma can start the minor Entrepre-
neurship in the Arts in September.
The minor is also intended for
students who want to start their own
business as an independent artist,
designer or musician.
Modules of the Minor Entrepreneurship
in the Arts as elective
The minor consists of a number of
modules. The Entrepreneurship in
the Arts is intended for students
aspiring careers in the cultural
sector, where matters such as organi-
sation, leadership, coordination and
programming play an important role.
The minor is also useful for students
who want to present themselves as an
independent artist, designer or musi-
cian, or who want to set up their own
business. The minor teaches students
how to effectively and relevantly
achieve artistic ambitions. The
programme prepares students for the
life after graduation. They learn all
about networking, investing, the ins
and outs of the Dutch cultural world,
marketing, project management and the
maintaining of a financial admin-
istration. This will increase their
chances on the labour market. Commit-
ment and motivation are required,
also because self-study is a large
part of the minor.
p.203
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
More information can be found on the
website: www.bedrijfswetenschappen.
leidenuniv.nl under Education. For
problems with registration you can
email Tim Soekkha:
[email protected].
6.1.6 Internationalisation
The KABK strives for an interna-
tional learning environment for
its students. Firstly, by creating
an international climate in the
building, and secondly by the encour-
aging temporary trajectories abroad
in the shape of:
/ study;
/ internships;
/ post-graduate programme.
The advantage of a temporary trajec-
tory abroad is the contact with
different cultural and living envi-
ronments and teaching methods. In
addition, students learn to func-
tion in an international context,
which will benefit their future
careers. Through different mobility
programs, the European Union (EU),
Dutch government and several founda-
tions offer many scholarships every
year for students to follow a part
of their programme, internship or
research abroad. In most cases, the
stay abroad takes place in the third
year of the programme. The length
of stay varies from three months to
a full academic year. The Erasmus
exchange has a maximum of six months.
Temporary study abroad
A well worked out study plan is the
basis for applying to study abroad.
The student can obtain advice and
information about academies abroad
from the internationalisation office
and the head teacher. The head of
department makes the final decision
concerning the study period abroad.
When the study abroad takes in
Europe, the student is eligible for
the Lifelong Learning Erasmus schol-
arship. For more information on the
KABK’s European partners, the appli-
cation process, the application form
and the scholarship amount can be
found on www.kabk.nl or at the Inter-
national Office of the KABK. Deadline
for application: check the website of
the institutions.
Inside and outside Europe we have
established relationships with art
schools in:
/ Tirana, Albania
/ Jerusalem, Israel
/ Tokyo, Japan
/ Beijing, China
/ Minneapolis, United States
/ Bangalore, India
/ New Delhi, India
/ Seoul, South Korea
On the KABK website the most current
list of partner institutions can be
found.

Cumulus
The KABK is a member of the interna-
tional network of leading art schools
‘Cumulus International Association
of Universities and Colleges of
Art, Design and Media’. This member-
ship gives students the opportunity
to temporarily study at one of the
member schools. This has signifi-
cantly expanded the international
offer for KABK students. An over-
view of associated art schools can be
found at www.cumulusassociation.org.
Internship
Also read the general information on
internships (chapter 6.1.9)!
Internships can take place both in
and outside Europe. For questions
about internship position students
are referred to their own department.
The KABK offers scholarships for
internships abroad, also through the
Lifelong Learning Erasmus Programme
of the EU.
p.204
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
More information on the criteria, the
application process and the scholar-
ship amount can be found on www.kabk.
nl or at International Office of the
KABK.
6.1.7 After graduation
Post-graduate programme
When students want to continue
their studies abroad after gradua-
tion, there are several high-quality
post-graduate programmes available.
Timely preparation is necessary,
however. Most admission procedures
of foreign post-graduate programmes
start in January. This means students
should start their orientation on the
offer at the beginning of the exam
year.
Students can make use of the
following websites in their search:
/ www.cumulusassociation.org
International Association of
Universities and Colleges of
Art, Design and Media;
/ www.elia-artschools.org/members index
European League of Institutes of
the Arts;
/ www.aicad.org Association of
Independent Colleges of Art and
Design (US);
/ www.penrose-press.com/idd/edu
International Directory of
Design.
Funds and scholarships
Studying at a post-graduate insti-
tute abroad is a costly affair. It
is not unusual that a student needs
on average € 30,000 for one academic
year for the tuition fee, travel and
accommodation costs. Students can
apply at several funds for a schol-
arship. It is possible to apply
simultaneously at different funds.
Possible funds are:
/ VSB Fund scholarship programme
www.vsbfonds.nl/beurzen;
/ Culturele Verdragen
www.nuffic.nl/cultureleverdragen;
/ Fulbright scholarship programme
(for US) www.fulbright.nl;
/ Institute for International
Education (for US)
www.fundingusstudy.org;
/ Prins Bernhard Culture Fund
www.cultuurfonds.nl;
/ Fonds voor Beeldende Kunsten
(BKVB) www.fondsbkvb.nl.
Look for more funds on
www.beursopener.nl.
Important tips for when applying for
a scholarship:
/ Make sure the application looks
presentable and does not contain
language mistakes;
/ Give arguments for your plans
in a well-written letter of
motivation;
/ State in the application if you
have already been admitted to
the institution of choice.
p.205
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
VSB Fund Scholarship
Students qualify for a VSB Fund
Scholarship when they graduate
between 1 March 2013 and 31 December
2014 from their Bachelor’s programme
and want to study abroad after grad-
uation for an additional programme or
research. The additional programme
should last a minimum of three and
a maximum of 24 consecutive months
and should be completed within that
period. The grant can amount to a
maximum of € 10,000. The scholar-
ship is not intended for internships
and the applicant cannot be older
than 29 years at the start of the
programme. The application form is
available on the website of the VSB
Fund. All applications can be handed
in, with original documents, at the
International Office of the KABK.
The first written and oral selection
is performed by an internal selec-
tion committee of the University of
the Arts in The Hague. The selection
committee proposes a, by the VSB Fund
predetermined, number of candidates
to the Executive Board of the Univer-
sity.
More information on criteria and
procedures can be obtained from the
International Office or the website:
www.vsbfonds.nl/beurzen.
6.1.8 Career orientation and preparation
In the course of study, the student
increasingly approaches the level
of a starting professional, which
contributes to the further profes-
sionalisation of his own work in the
chosen profession or occupation. The
educational programmes of the academy
can be seen as a foreshadowing of
the future professional practice:
students encounter it in different
forms throughout their years of study
and master its different components.
This begins with an introduction to
professional practice in the courses,
which are taught by artists and
designers that almost all have their
own professional careers. The link
with the professional field is more
explicitly made by participation in
internal projects, presenting work
in internal and external exhibitions
and attending lectures and workshops.
Externally, the link is made during
visits to exhibitions and (partic-
ipation in) manifestations. During
the course of study, students gain
knowledge and experience at the hand
of career orientation and later on at
the hand of career preparation. The
ability of the student to function
independently becomes increasingly
important. In the main phase, we offer
the course Writing a Business Plan.
Career orientation/field orientation during the
Propaedeutic year
Especially in the first year it is
of importance to the student and to
the academy that career orientation
takes place. Both the KABK and the
student must be able to determine
whether the student has enrolled in
the right programme. Students visit
exhibitions, a designer or artist in
groups or independently and report
on the visits. This can also serve
as a training of written expression
skills and the student might reflect
on it further in an oral presenta-
tion. This type of career orienta-
tion is part of the study programme
of each department.
Career Preparation in the main phase
Main phase students are becoming
increasingly independent, and have
more technical and artistic skills
and more conceptual and theoretical
knowledge. Students want to be an
artist or designer and their profes-
sional career draws near. Partici-
pation in workshops and projects or
productions is a method to intensify
the career preparation.
Each department employs methods that
are best suited to the discipline.
Some methods to prepare the student
for the profession and to teach him
how to present as a designer or
artist are:
p.206
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
/ case study: the practice
education includes a series
of fictitious assignments
(sometimes simulations) that
teach the student to deal
with an authentic practice
problem (case) reflecting real
assignments;
/ (learning) to document own work
in a (digital) portfolio;
/ digital recording of project,
production and workshop reports;
/ describing the work that is
presented at the collective
assessment and giving an oral
explanation of the work.
Career preparation in the final exam
trajectory/final phase
Already early on in the programme,
but explicitly in the final phase,
the student shows that he can work
independently as a professional.
His supervision will therefore take
place from that perspective. The
final thesis and end exam work are
two elements in which the student can
make an artistic statement. In the
fourth year, the full-time students
Interior Architecture and Furniture
Design, and Textile & Fashion work at
their internships.
6.1.9 Internship
The internship is part of the career
preparation for the profession
of artist or designer. During the
internship, the student experiences
working conditions, methods, tech-
niques and limitations of his future
professional field. It is an impor-
tant part of the career preparation.
The KABK attaches much value to
the internship. A strong relation-
ship with the professional field is
considered as an essential part of
the programme. As of yet, the intern-
ship is not compulsory for part-time
students. For full-time students of
the Fine Arts and ArtScience depart-
ments it is difficult to arrange
an internship, so they work on
(external) projects.
The ability of the student to func-
tion as an aspiring artist or
designer during his internship is an
important addition to the programme.
The defining of learning objec-
tives prior to the internship and
the assessing of whether they were
achieved at the end by student,
client and teachers, creates the
possibility to arrive at an assess-
ment of what the student has achieved
so far. By working in the profes-
sional field the student also gets
the opportunity to gain important
contacts.
An internship does not qualify as
an internship unless supervision is
available on location. When a student
participates in a project instead,
the KABK arranges regular supervi-
sion. The KABK guarantees the effec-
tive contribution of the internship
to the programme at the hand of
internship guidelines for the interim
and final evaluation. Guidelines have
also been created for the communica-
tion with the internship company.
Every department has an internship
coordinator who is often also the
internship supervisor. For informa-
tion and tips, students can consult
numerous websites. On the KABK
website students can find an overview
of a number of useful sites.
Internship objectives
The internship must offer the
student the opportunity to demon-
strate insight in situations that are
typical of the future profession, and
on the basis of that, students should
act appropriately. Students formulate
their own learning objectives for the
internship. The internship has as aim
to prepare the student for his later
career, and therefore the student
must, during the internship:
/ familiarise himself with the
profession and his future
career;
p.207
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ acquire the professional skills
and professional attitude of a
starting professional (designer/
artist);
/ learn to participate in the
working/business world;
/ learn to integrate theory and
practice;
/ discover his own qualities and
learning objectives;
/ explore a possible
specialisation;
/ network: establish contacts
to make the transition to the
professional field as small as
possible;
/ obtain an understanding of, and
gaining experience in, the field
under professional conditions;
/ gain experience in professional
manufacturing methods and
techniques;
/ where applicable: learn to work
in teams and learn to work with
clients, production deadlines
and, where applicable, carry out
acquisitions, make quotations
and manage budgets.
Internship supervision
/ The department coordinator
accompanies the internship.
During the internship contact
is kept with the internship
company according to pre-defined
arrangements.
/ The internship company has a
contact person, with whom the
internship supervisor has, if
necessary, talks throughout the
internship, but at least a final
conversation.
/ If the internship takes place
abroad, contact will mostly be
kept by email or telephone.
/ The KABK supervisor contacts
the internship company and the
student at least once during the
internship.
/ The department can organise a
collective internship meeting
halfway through the internship
period.
/ The coordinator always visits
new internship companies when
the student is present. With
already known internship
companies, contact is kept by
telephone, if so desired.
/ If the internship company and/or
the student encounter problems,
please contact the coordinator.
/ The coordinator must handle the
internship contract.
Organisation of the internship
The internship brochure contains
detailed information about the
internship procedure. The brochure is
also contains an internship contract
and the interim and final evaluation
forms. The departure points of the
internship policy and contract in
English are also included.
The interim and final evaluation
forms are available in Dutch and
English and can be obtained from the
Student Administration.
The internship lasts at least half
a semester and has a maximum of
one semester. During the actual
internship period sufficient time
is devoted to an (oral or written)
interim report. Participation in
the mid-internship return days,
timesheet, activities overview
signed by the student and intern-
ship company, and the internship
report are inextricably linked to the
internship. No separate credits will
be allocated for writing the report.
The following steps should be taken
(refer to the internship brochure for
more information):
/ create an internship work plan;
/ find an internship or internship
replacement place;
/ apply;
/ prepare an internship contract;
p.208
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
/ write an interim report;
/ where applicable: participation
in a return day;
/ receive a mid-term review of the
external internship supervisor;
/ receive a final assessment from
the internship company;
/ write the final report;
/ where applicable: create a
visual presentation about the
internship period.
For situations where internships are
difficult to obtain, such as Fine
Arts, the internship is replaced with
other activities (see the section
Internship Replacement Activities
below).
Starting conditions
Before students can start the intern-
ship, the internship plan must be
approved and prior study compo-
nents must be completed. In excep-
tional cases, the head of department
can authorize an internship before
completion of the prior programme.
It is necessary to make the neces-
sary preparations in the period prior
to the internship by, for example,
attending the internship return days
that take place half way through each
internship period. Students are also
advised to make use of the internship
brochure.
Internship replacement activities
It is more difficult to find an
internship position for students of
the Fine Arts and ArtScience depart-
ments than for design students. Occa-
sionally, a single student might work
in the studio or on a project of an
artist, but these positions are very
limited. A non-continuous period,
for example in the form of one or
two days per week, offers a solution
in those cases. Institutions such as
Stroom Den Haag, the GEM, Museum of
Contemporary Art, the Gemeentemuseum
and artists’ initiatives provide a
proper context for doing research on
more general issues, such as how the
process of making art available to
the public works in the professional
field. Fine Art students participate
in, for example, external projects or
the organisation of exhibitions.
Students of the interfaculty ArtSci-
ence work on productions and projects
such as the Sonic-Art Festival.
Within this department education,
research and production are prefer-
ably seen as a whole.
The head of department appoints
a supervisor for the internship
replacement activity. The rules
regarding credit allocation and the
conclusion of an internship are
the same as formulated for regular
internships. The writing of a report
on the replacement activity is
compulsory.
6.2 Assessing in art education
Assessing
During their study at the KABK,
students are assessed in a specific,
extensive and very thorough manner.
In art education we use methods that
differ from those used in other forms
of higher education, where students
are usually assessed on the basis of
exams. At the KABK, this specific way
of assessing can already be observed
during the admission: the appli-
cant’s former education is not the
only decisive factor, because his or
her creative abilities, motivation,
ambition and the potential for talent
development are equally important in
making the decision to accept the
student to the KABK.
The individual development of the
student puts special demands on the
method of assessment. The assessment
has primarily a didactic purpose:
it should provide the student with
insight on how his development as
an artist or designer is advancing.
The assessment does not only concern
the form of the work, but also the
strength of the concept, the way
p.209
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
the result has been achieved, the
process, and the student’s theoret-
ical knowledge. This analysis of the
work or design is made during the
individual and collective assess-
ments. The conclusions form the basis
for a discussion with the student.
The coordinator or head of depart-
ment leads the conversation, to be
able to clarify the specific issues
at hand. Information on the different
assessments, the composition of the
different assessment committees and
their authoritative reach, are set
out in the Education and Examina-
tion Regulations (chapter 7). It is
particularly important for first year
students to read the rules on the
propaedeutic assessment.
In Fine Arts, the individual and
collective assessments are combined
in one assessment.
Individual assessment
In the design departments, the
teacher individually assesses
students after completion of a
study component. At the end of each
semester, an integral assessment
of each student takes place; the
so-called collective assessment. In
the individual assessment atten-
tion is given to the requirements of
processes, products and competences
related to the work or assignment.
Collective assessment
The collective assessment assesses
the integral development of the
student, the processes, products and
skills. In addition to the evalua-
tive purpose of the assessment, it
also has a didactic objective: the
student receives feedback on his
attitude, the work and the way the
work or assignment was approached,
the strength of the concept and his
theoretical knowledge.
The starting point for the collective
assessment is the presentation of
the student’s work, and its devel-
opments in comparison with previous
assessments, taking into account the
feedback from the teachers of the
various study components. See also
the section ‘Credit Allocation’.
The competences of the visual commu-
nication/product/spatial designer and
the competences of the visual artist
are described in their original form
in the Educational Profiles of the
OBK. The competences are described
per academic year in the descriptions
of the curriculum per department.
Registration and archiving
/ The head of department signs
in the name of the assessment
committee for all collective
assessments.
/ All students receive a
form signed by the head of
department, in which the result
of the collective assessment is
stated.
/ A copy of the form is kept
in the student’s file at the
student administration.
6.2.1 Credits, EC
As a result of the introduction of
the Bachelor-Master structure (BAMA)
in higher education in 2002-2003,
European Credits (abbreviated EC,
both plural and singular) are used.
The system’s full name is: European
Credit Transfer and Accumulation
System.
The purpose of the system is to
create a singular unified high-
er-education system in all Euro-
pean countries. By applying the same
system in all participating coun-
tries, now already more than forty,
it has become much easier to compare
programmes and diplomas. This very
much benefits the possibility of
exchange.
European credits are a unit of meas-
urement to calculate study load.
The study load includes all the
activities a student undertakes
in the framework of one specific
p.210
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
study component, which does not
only include the contact hours and
classes, but also the independent
study hours. A study year consists of
42 weeks of 40 hours, so 1680 hours
in total. One EC equals a study load
of 28 hours. There are 60 EC a year
in a full-time programme: 60 x 28
hours = 1680 hours.
A bachelor’s programme covers four
years of 60 EC each. Students must
obtain sufficient EC to continue the
programme and must receive all of the
programme’s 240 EC to obtain a bache-
lor’s degree.
The study load of the old-style
part-time programmes is different
because they concern a five-year
programme. The total number of EC is
to be acquired here is also 240. In
the old-style part-time programmes,
the first three propaedeutic semes-
ters each have a study load of 20 EC.
Semesters four to eight of the main
phase each have a study load of 24
EC. The final phase semesters (nine
and ten) each have a study load of 30
EC.
Credit allocation
The study load of the various compo-
nents is expressed in ECs. The indi-
vidual assessments are followed by
the collective assessment. Students
only receive their credits after the
collective assessment. Only then the
team of lecturers (the collective:
hence, the collective assessment)
assess the student’s integral devel-
opment and the results of all study
components together. This applies
to both the full-time and part-time
programmes.
All study components of one semester
have a combined study load of 30 EC
(full-time and new-style part-time).
Five credits of this semester total
are reserved for the collective
assessment. These credits are only
allocated after a positive collec-
tive assessment, when the teachers
are able to judge the student’s work
in its totality. The reason for
this is, that there is an assessment
of the student’s integral develop-
ment. If any components still have
to be completed, the credits for the
collective assessment are also with-
held until the student finishes. In
the old-style part-time programmes,
the construction is the same, except
that four credits are allocated per
semester in the first years. The
credits for the collective assess-
ments are officially allocated when
all components of the semester have
been duly completed.
Please note: Due to the different
structure of the study programme of
the ArtScience department, the allo-
cation of credits takes place after
the collective assessment that is
linked to the final presentations per
semester.
Credit allocation international exchange
KABK students who go on exchange
receive their credits according to
the system of the host institution.
These days, many countries have the
EC system. If not, it is determined
how the credits can be converted. The
study load of the exchange programme
is determined by the policy officer
internationalisation, in cooperation
with the head of department, prior to
the exchange.
International exchange students
studying at the KABK fall under the
protocol of the academy. An indi-
vidual arrangement is made in case
the credit systems differ.
Credit allocation ‘guest students’
Students from other institutions
such as Leiden University, who want
to follow classes at the KABK, need
approval from their own institution
and from the academy. After a posi-
tive assessment they receive a state-
ment that specifies the study load of
the followed programme in EC.
Credit allocation internship
Prior to the internship students
create an internship plan. Interim
and final evaluations are part of
p.211
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
the internship, and the student is
expected to make a presentation and
write a report at the end of the
internship. The credits are allocated
when all conditions have been met.
Please also read the brochure with
extensive information on the intern-
ship.
Credit allocation Individual Study Trajectory
Credits are reserved for the Indi-
vidual Study Trajectory (IST). The
work carried out in the framework of
the IST may not always be part of the
collective assessment, for example
when it concerns a minor or elective
in Leiden. Externals then assess the
student.
The coach signs the plan in advance
and will issue a Credit Statement
afterwards, if everything is in
order. A form is available for this.
Credits gained for activities in
the IST are, like all other credits,
only allocated after the collective
assessment.
Credit allocation minor
KABK students who take a minor at
Leiden University can, when the end
result is positive, use maximum of
36 EC (full-time and new-style part-
time) and 35 EC (old-style part-time)
for their programme. This is the
space that offered by the Individual
Study Trajectory. If a minor has a
larger study load than 36 EC, the
additional credits earned are noted,
but are not part of the compulsory
programme.
6.2.2 Study and progress guidance
The KABK distinguishes between
guiding students in the content
of their programme and artistic
development, and supervising their
study progress. The guidance of
the student’s artistic develop-
ment takes place continuously by the
constant discussions between student
and teachers on the work and work
process.
Mentors and coaches
Mentors and coaches monitor the
student’s study progress. Mentors
guide students in the propaedeutic
year, while coaches guide students in
the higher years.
The mentors meet with the student
twice a year. At the end of the
first semester, all first year
full-time students receive provi-
sional (interim) advice concerning
their study progress. A final and
binding decision follows at the end
of the second semester. For part-
time students old style this decision
takes place after the second or third
semester.
The mentor is a teacher of the rele-
vant discipline. The tasks of the
mentor are focused on:
/ discussing the student’s study
progress;
/ discussing the assessment of the
first semester;
/ discussing the assessment of the
second semester;
/ keeping a concise record of
the date and content of the
conversations.
Coaches are available for main phase
students. The coach is a teacher of
the relevant discipline. In some
cases, the head of department takes
the role of coach.
The tasks of the coach are focused
on:
/ discussing the student’s study
progress;
/ pre-approving the IST plan;
/ assessing the IST plan after
completion;
/ recording and archiving the
students’ IST plans.
p.212
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Student counsellor
The KABK has an independent student
counsellor. The counsellor can supply
more general information. He repre-
sents the individual interests of
the students and has an agreement of
confidentiality. The counsellor may
also mediate or refer to agencies or
individuals outside the academy. If
necessary, only with approval of the
student, third parties are contacted.
The counsellor provides information
on, and assists, if possible, with:
/ study financing;
/ assistance in applying for funds
and grants;
/ housing;
/ problems in study progress due
to illness;
/ personal problems;
/ help and advice with
professional procedures;
/ adjustment difficulties, study
motivation, study planning,
performance anxiety, switching
programmes;
/ conflicts with teachers;
/ information on de-registration;
/ information on post-graduate
programmes.
The KABK student counsellor is Paul
Deneer. It is possible to make an
appointment with him by emailing:
[email protected]. He is also a
confidential contact person.
Pauline Spoon is also a confidential
contact person. Her email address is:
[email protected].
6.3 Quality Assurance
Quality assurance is the totality
of measures with which an institute
systematically defines, monitors and
improves the quality of education in
the broadest sense of the term.
Bologna process
The Bologna Process is one of the
most important changes the European
higher education system has seen in
the last few decades. In 1999, 29
European ministers signed the Bologna
Declaration, in which they agreed
to collimate their national higher
education systems in a number of
crucial points. Over the years, the
number of participating countries has
grown to 47. On the official website
of Bologna information can be found
in many languages:
www.ond.vlaanderen.be/hogeronderwijs/
bologna/pcao.

Objective
The objective of the Bologna process
is to create attractive and inter-
nationally competitive higher
education, through mobility of
students and teachers. To achieve
this mobility, it is important that
the higher education systems in
Europe are transparent. The systems
have therefore been organised into
three cycles (bachelor, master and
doctorate) throughout Europe. This
way, the level of the academic
degrees is clear. The following
agreements have been made to enhance
the compatibility of higher education
systems and the mobility of students
and teachers:
/ quality assurance with
standards and guidelines from
ENQA (European Association for
Quality Assurance in Higher
Education) as a reference
document;
/ reflection of the study load in
60 European Credits (abbreviated
as EC) per full-time year;
/ Providing a Diploma Supplement
(DS) (since 2005). The DS
contains information about
the courses the student has
completed;
/ a European qualification
framework for higher education.
This describes the final
p.213
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
qualifications of bachelor,
master and doctorate,
at the hand of the five
reference points, the ‘Dublin
descriptors’. The Dublin
descriptors for the KABK are
outlined below;
/ a national qualification
framework.
ECTS
ECTS is a European system for the
exchange and accumulation of credit
points: European Credit Transfer
and Accumulation System. It includes
the agreement that the learning
objectives of the curriculum and
the courses are clearly defined,
to ensure the compatibility of the
programmes. The ECTS also compares
different grade systems, to ensure
people from other countries know what
it means to be awarded a six or an
eight (and vice versa).
6.4 Accreditation
Accreditation is the providing of a
label that indicates that the educa-
tional programme meets the require-
ments set by the Minister of Educa-
tion, Culture and Science. This is
a condition for the recognition of
diplomas, for the funding of the
programmes and for grant applica-
tions. An external committee reviews
and evaluates the programmes and
reports to the NVAO, the accred-
itation body. The NVAO grants
the ‘label’. A list of accred-
ited programmes can be found on the
website of the NVAO (www.nvao.net).
Quality assurance is an important
part of the accreditation. It implies
the continuous examination of the
performances of the education and
organisation. This is done through
interviews and evaluations (see
below). If the outcome of to assess-
ments is negative, improvements will
be made.
The KABK bachelor’s programmes were
accredited per 1 January 2009 and are
accredited again this academic year.
Of the master’s programmes, Type &
Media was accredited per 15 July
2008 will be re-accredited this year
as well. Interior Architecture was
accredited per 8 June 2010 and the
master ArtScience per 2 May 2007.
Final level of the bachelor’s programmes
The bachelor’s, master’s and PhD
levels are described on the basis
of five benchmarks referred to as
the ‘Dublin descriptors’. During the
accreditation, it must be demon-
strated that the programmes reach the
minimum required level. The granting
of the corresponding label guarantees
that the programmes are of sufficient
level, or even rise above it.
The KABK has described the Dublin
descriptors for its art education on
the bachelor’s level as follows:
Knowledge and insight
The graduate of the KABK has his own
artistic vision and insight into his
own work process. He understands key
concepts such as ‘artistic prac-
tice’, ‘design practice’, ‘meaning’,
‘uniqueness’, ‘authenticity’ and
‘innovation’. He is knowledgeable
about the transfer of meaning through
image and form. He is aware of
general art history and the history
of his discipline, and is aware of
contemporary and international devel-
opments. He has knowledge of theories
and ideas about art and artists or
designers and design. He has insight
into developments in the cultural,
public and social context in relation
to his own vision and work.
Application of knowledge and insight
The graduate can professionally
create authentic work that protrudes
from his own artistic vision, or
develop an innovative concept and to
develop this into a unique and mean-
ingful design or image. He is able to
solve artistic and design problems.
He is capable of giving arguments
for these solutions and his work,
p.214
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
and present and explain them in an
inspiring way, by using his knowledge
and insight and his experience in
the field or discipline. He can also
employ them to create and maintain
an inspirational and functional work
environment.
Forming opinions
The graduate is able gather rele-
vant knowledge and information in
service of his work, and establish
links between his own work and that
of others through consideration,
analysis, interpretation and eval-
uation. He does so by using his
knowledge and understanding of rele-
vant social, scientific or ethical
issues. He is able to realise that
the results of analyses, reflec-
tions and assessments benefit of the
development of his work.
Communication
The graduate can, in an inspired and
substantiated manner, present and
explain his work and the vision on
which the work is based, to stake-
holders, the public and potential
clients, and negotiate with them
if necessary. The graduate is able
to provide an independent artistic
contribution to a joint product, to
which he adds content, quality and
possibly direction.
Learning Skills
The graduate can deepen and broaden
his artistic or design practice, his
knowledge, methods, vision and abili-
ties, or develop them differently, in
a way that suits his personality and
is related to his discipline. He has
a passionate, curious and inquisi-
tive attitude and is able to success-
fully participate in a post-graduate
programme on a (international) level
or by continuing his studies inde-
pendently in, for example, an inter-
national centre of excellence.
Degrees and Titles
Graduates from the Dutch higher
education receive a bachelor’s or a
master’s degree. The professional
colleges (hogescholen) provide both
bachelor’s and master’s Degrees,
with an English discipline or course
related addition. At the academy it
is possible to obtain a BFA (Bachelor
of Fine Art) or a BDes (Bachelor of
Design) or a master (ma). The word
‘master’ is then usually followed
by the name of the discipline and
specialisation: Master of Design
in Type and Media, for example. The
abbreviation for master’s degrees is,
for example, MDes in Type and Media.
6.5 Quality assurance at the KABK
Staff, students, alumni and profes-
sionals of the different depart-
ments are actively involved with the
internal quality assurance of the
KABK. Great importance is attached to
a solid quality policy, both acade-
my-wide and in the departments. The
academy gauges the opinions on the
programmes and their results. This
happens internally with students and
staff and externally with alumni,
committee members, important people
in the art and design worlds, intern-
ship companies and art institutions
from the professional field.
Quality assurance at the KABK
consists of:
/ Satisfaction inquiries
Students and staff are
questioned via written or
digital inquiries about
their satisfaction with the
educational programme in
general, but also about specific
parts of the programme. The
surveys include questions on
matters such as the level of the
course, assessments and level
of difficulty. The inquiries are
developed in close collaboration
with the ICLON department
at Leiden University. This
department also takes care of
the automatic processing of the
inquiries.
p.215
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ Participation in national
satisfaction inquiries
The KABK regularly participates
in national satisfaction
inquiries to ensure its
compatibility with other
institutions for higher
education in the arts.
/ Student panels/class
representatives meetings
Within each course, regular
meetings (at least once a
year) are scheduled between
the head of department and
the class representatives in
the student representatives
meeting. In addition, the class
representatives hold a meeting
at least once a year with the
director of the KABK.
/ Course Committee
The Course Comittee (in Dutch:
Opleidingscommissie OC)) plays
an important role in the
developments in the programmes
and in quality assurance, by
giving advice (ask or unasked
for) on all matters concerning
education. The committee is also
involved in finding the best
way to gather information on
education. The Course Committee
consists of students and
teachers. The meeting dates are
found in the calendarium.
/ Departmental meetings
Teachers and the head of each
department regularly meet to
discuss the goings on and the
quality of the education. This
information is then used to
further develop the programmes.
/ Study days
The director, heads of
departments and other staff
participate in a study day
several times a year to discuss
the current developments within
the academy and develop new
ideas.
/ External assessors
Renowned experts, artists and
designers are involved yearly
in the final examinations as
external assessors. They are
asked about their experiences
and findings in relation to the
department. This information
is used in developing the
programmes of the department.
The assessors are also
questioned about their findings
in writing.
/ Work field committees
For each department, a
work field committee has
been instated to ensure
the compatibility with the
professional field. There is
also an academy-wide work
field committee. The work field
committees consist of respected
people from the professional
field who advise the KABK and
comment on the content of the
programmes, the final objectives
and the final level, the
developments in the field and
the consequential demands for
the education and organisation.
/ Internship companies
The companies where students
intern, are asked about their
findings, both on the level of
the student as on the their
needs in the professional field.
/ Researching among alumni
All alumni who have finished
their studies successfully, are
asked about how they experienced
their studies about three months
after their graduation, ever
since 2003. The first few years
this was done by post, and since
a few years, alumni can complete
the questionnaire digitally. The
response rate is high for this
type of research: around forty
percent. In the near future,
another inquiry will also be
held researching how alumni
conquer a place in the world of
art and/or design.
p.216
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
/ In-depth interviews with alumni
A select group of alumni from
the Fine Arts department who
graduated in 1986, 1993 and 2000
have been subjected to in-depth
interviews to gain insight
into how they have developed
from a starting artist to a
more experienced professional.
This research was held in
the scope of the research
domain ‘Reflection processes
in the arts’ by Michael van
Hoogenhuyze. Former teaching
staff has also been asked about
their findings. The research
domain published several books
on this, including the book
‘Help, I’ve got talent’.
/ Exit-inquiries
All students leaving the KABK
without a diploma are also asked
to complete a questionnaire.
This is an additional source
that can provide information
useful for the development of
the education.
p.217
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
7. Education and Examination
Regulations
Education and Examination Regulations
Royal Academy of Art The Hague
2013-2014 Academic Year
Education and Examination Regulations
This part of the Education and Exam-
ination Regulations sets forth the
rules and provisions that apply to
the education at the Royal Academy
of Art as a whole in conformity with
the Higher Education and Research Act
(Hoger onderwijs en Wetenschappelijk
onderzoek (WHW)) article 7.13.2 a to
u inclusive, and has been approved by
the Board of Governors of the Univer-
sity of the Arts, The Hague, formerly
the School of Visual Arts, Music and
Dance. These regulations came into
force on 1 September 1998 and were in
part modified by the Board of Gover-
nors (most recently in July 2011) for
all programmes of study at the Royal
Academy of Art.
The general description of the educa-
tion provided at the Academy and the
concise description of the curric-
ulum for the programmes in this Study
Guide are an integral part of the
Education and Examination Regula-
tions.
The Education and Examination Regu-
lations apply to all cohorts of
students of the programmes and
courses referred to and apply solely
to the 2011-2012 academic year.
If, on 1 September 2013, the 2013-
2014 Education and Examination Regu-
lations are not yet ready, by way of
exception to the above, the 2012-2013
Education and Examination Regulations
remain in force until the 2013-2014
Education and Examination Regulations
have become effective.
General

Article 1 Applicability of the regulations
These regulations apply to the
education and the examinations for
the programmes and courses: Visual
Arts, ArtScience, Photography,
Graphic Design, Interior Architec-
ture and Furniture Design, Textile
and Fashion and Interactive/Media/
Design. The courses are provided by
the Royal Academy of Art, a faculty
of the University of the Arts, The
Hague, further referred to using
the Dutch abbreviation: KABK. The
ArtScience course is provided by the
ArtScience interfaculty. Relevant
articles are also operative for the
postgraduate course Industrial Design
and the master programmes ArtScience
including the variant Master Artistic
Research, Master Interior Architec-
ture and Type and Media.

Article 2 Definitions
Academy for Creative and Performing Arts
A collaboration between the Univer-
sity of the Arts, The Hague and the
University of Leiden.

Recommendation
A distinction is made between:
/ The propaedeutic recommendation:
at the end of the propaedeutic
or first year of a degree
programme a recommendation is
made on the continuation of the
course of study. This may be a
negative binding recommendation.
A negative binding
recommendation means that a
student is not admitted to the
main part of the course in
question and that the enrolment
of the student for that course
is terminated in conformity with
article 7.8.b of the Higher
Education and Research Act.
p.219
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ Interim propaedeutic
recommendation: after the first
semester in year 1 for full
time students and after the
second semester for part-time
old style students a provisional
recommendation is made that is
not binding.
/ Green light recommendation:
after the seventh semester for
full time students and the
ninth semester for part-time
old style students a non-binding
recommendation is made about
participating in the final
examination if all the preceding
parts of the course have been
succesfully completed and there
is sufficient confidence in the
student being able to pass the
final examination’s format and
content. This recommendation is
binding if the preceding parts
of the course have not been
successfully completed.
Main subject
The Visual Arts and Design programmes
include different main subject that
provide a training for a specific
profession.

Bachelor
The title can be obtained after a
four-year higher professional educa-
tion course or after a three-year
university course. Every bachelor
course normally takes four years at a
Higher Professional Education Insti-
tution for which 60 EC credits per
year are required.

Assessment
An assessment is a feasible and valid
equivalent in higher art education
for what is called an examination in
the regulation higher education world
(Higher Education and Research Act
7.10 paragraph 1).
Assessment interview
The equivalent in art education for
that which is referred to in the
Higher Education and Research Act
article 7.3 paragraph 3 and article
7.10 paragraph 1, as tests and exam-
inations. The assessment involves a
review of the knowledge, the insight
and skills of the examinee as well as
the assessment of the outcome of the
review.

A distinction is made between :
/ the propaedeutic assessment
for fulltime and part-time new
style students after the second
semester, and part-time old
style students after the third
semester;
/ the semester assessment;
/ the final assessment;
/ and, depending on the assessors:
collective assessment and
individual assessment, and if
these coincide, integrated
assessment.
Assessment commitee
For the purpose of preparing for and/
or implementing examinations and
parts of examinations committees of
examiners (or assessment committees)
are set up as referred to in article
7.12c paragraph 1 of the Higher
Education and Research Act. The exam-
iners are responsible for setting and
assessing tests and examinations.
The assessment committee is a
committee that is set up for the
propaedeutic and main phase of the
study and is responsible for the
collective assessments. For each
course the Academy has an assess-
ment committee for the propaedeutic
assessment, the assessments in the
subject study phase and the final
assessment.
These assessment committees have
different competences depending on
their tasks. Articles 22, 23, 24 and
25 give details of the composition of
the assessment committees.
p.220
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Block/Period
Half a semester. There are a maximum of
four blocks/periods per academic year.
Coach
A student counsellor for the main
subject students, possibly also
responsible for coaching of the Indi-
vidual Study Track.

Competence
Competence is the integral whole of
knowledge, skills, attitudes and
other personal qualities that indi-
viduals possess and which enables
them to carry out tasks in an
adequate way, to find solutions and
put these into effect in practising
their profession.

Competence areas
There are three areas or domains of
competence:
/ Artistic/subject-based domain;
/ Professional/social domain;
/ Theoretical domain.
Board of Appeal for Examinations
The Board of Appeal as referred to
in the Higher Education and Research
Act 7.60 can be reached through the
Central Office of the University of
the Arts.
Board of Governors
The Board of Governors of the Univer-
sity of the Arts, The Hague is the
competent authority and is respon-
sible for the education, organisation
and management of the institution.
EC/Credits
A measure of the hours of study. A
European Credit is equal to a study
load of 28 hours (independent and
taught). The study load for a Bach-
elor in a higher professional educa-
tion programme is 240 credits of
which 60 are to be obtained in the
propaedeutic phase and 180 in the
main phase.
ECTS
European Credit Transfer and Accu-
mulation System, European system for
exchanging and accumulating credits.
Final assessment/final examination
The closing examination of a
programme. The final examination
takes place in the form of a final
assessment.

Exams
A review of the knowledge, insights
and skills of the examinee as well
as the assessment of the outcomes of
that review.

Examination committee
The management of the institution has
set up an examination committee in
accordance with article 7.12 of the
Higher Education and Research Act for
the purpose of setting, organising and
coordinating examinations, tests and
assessments for each of the courses
or groups of courses offered by the
institution. Members of the examina-
tion committee are persons who provide
teaching on the relevant course. The
Examination Committee (Visual Arts and
Design) is responsible for arrange-
ments for examinations.

The examination committee:
/ draws up rules regarding the
proper procedures during the
tests and examinations;
/ appoints the examiners,
including the chairman of a
committee of examiners (article
7.12c);
/ may give guidelines and
instructions to the examiners
with regard to the assessment
and determination of the outcome
of the tests (article 7.12b,
paragraph one, sub b);
/ applies rules of exception
such as those for exemptions,
and determines in a number of
individual cases exemptions to
the regulations (article 7.12b,
paragraph one, sub d);
p.221
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ is authorised to take steps in
the case of fraud by a student
(article 7.12b, paragraph two);
/ Awards the certificate as soon
as the student has taken the
required tests (article 7.11).
Committee of examiners
See: Assessment Committee
Examiner
A member of the committee of exam-
iners, as referred to in article
7.12c. Persons who provide teaching
on the relevant course as well as
experts from outside the programme
may be designated as examiners.
Extraneous
Those who have solely been enrolled
at the university to take part in the
propaedeutic or the final examination
or parts thereof.
Faculty
Organisational unit. The University
of the Arts, The Hague comprises two
faculties namely the Royal Conserv-
atoire and the Royal Academy of
Art. There is also the Interfac-
ulty ArtScience and the Interfaculty
School for Young Talent.

The University of the Arts, The Hague
The Royal Academy of Arts and the
Royal Conservatoire merged on 1
January 1990 to become the School of
Visual Arts, Music and Dance. Since
8 July 2010 the name has been the
University of the Arts, The Hague.
The daily running of the Univer-
sity is in the hands of the Board of
Governors.
Head
Official in charge of an educa-
tional unit, a degree course, at the
Academy.
Main phase
The component of the study that
follows on from the propaedeutic or
first year and is concluded with the
final examination. The main phase
comprises the subject study phase and
the final study phase.
Individual Study Track (IST)
In the main phase, part of the work-
load is reserved for the students’
own, agreed assignment. At this stage
students can give rein to their own
imagination and ambitions.
Individual study track credits
acquired during the period of full
time internships and/or the final
examination can be integrated in the
assessment of the internship or the
final examination in a manner to be
approved by the head or coordinator
of the course.
Interfaculty
An Interfaculty is collaboration
between the Royal Conservatoire and
the Royal Academy of Arts. Interfac-
ulties are ArtScience and the School
for Young Talent. The ArtScience
Interfaculty’s course ArtScience
comes under the heading of the Visual
Arts in the CROHO Central Register
of Higher Education Study Programmes.
The Royal Academy of Arts
The Visual Arts and Design Faculty
of the University of the Arts, The
Hague.
Royal Conservatoire
The Music and Dance faculty of the
University of the Arts, The Hague.
Major-minor system
A bachelor programme may comprise
a major, the main programme and a
minor, a coherent elective subject.
As a rule the scope provided by the
Individual Study Track is set aside
for a minor. A student at the Univer-
sity of the Arts may be eligible to
pursue a minor at the University of
Leiden after completing the propae-
deutic phase. By the reverse token a
student at the University of Leiden
may be admitted to a minor at one of
the faculties of the University of
the Arts.
p.222
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
Master
A one or two year follow-up (as a
rule subsequent to the completion
of a bachelor programme) at a higher
professional education institute or
university.
Participation Council
The participation council as referred
to in the Higher Education and
Research Act 10.17. The council
comprises elected representatives
from different ranks of the insti-
tution: students, teaching staff for
each faculty and general support and
educational support staff. There is a
central council and two faculty coun-
cils for the Academy and the Conserv-
atoire.
Mentor
The counsellor provides help to
propaedeutic students with regard to
progress with their studies.
Education and Examination Regulations
The Education and Examination Regula-
tions are in two parts: one gives a
general description of the teaching
at the Academy and a concise descrip-
tion of the curriculum of the courses
and the Interfaculty ArtScience. Part
two includes the rules and provi-
sions. Both these are included in the
study guide.
Programme
A programme as referred in the Higher
Education and Research Act 7.3 is a
cohesive whole of educational units
designed to achieve clearly defined
objectives in the field of knowl-
edge, insight and skills which the
person completing the programme is
required to possess. Each programme
is concluded by an examination. The
programmes at the Academy include
several degree courses.
Practical exercises
Carrying out assignments or creating
designs, carrying out research
assignments, attending internships,
taking part in excursions, taking
part in other necessary educational
activities, geared to achieving the
required skills.
Propaedeutic assessment/Propaedeutic exam
The examination which concludes the
propaedeutic phase. The examination
takes the form of a propaedeutic
assessment to determine whether a
student meets the requirements set
for the propaedeutic phase.
Semester
Each academic year has two semes-
ters. A semester comprises blocks or
periods.
Semester assessment
A formal assessment that takes place
at the conclusion of each semester.
This assessment is carried out by an
assessment committee.
Specialisation
A cohesive whole of educational units
within a course of study focussing on
a specific domain within the visual
arts and/or design.
Student
A person who is enrolled at the
University of the Arts, The Hague
full time or part-time to pursue a
programme.
Student dean
Confidential advisor who, if need be,
and as a supplement to the mentor,
coach or class teacher gives advice
to students and provides information
to them regarding matters relating to
their study. The student dean also
helps students with personal problems
of a material and immaterial kind
or refers them elsewhere or acts as
intermediary.
Academic year
The period that begins on 1 September
and terminates on 31 August of the
subsequent calendar year; an academic
year has two semesters.
p.223
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Component of a study programme
A component of a study programme is
equivalent to what in the Higher
Education and Research Act article
7.3 is referred to as a unit of
study. It is part of the educational
programme that is concluded with an
assessment.

Study load
All activities as component of the
study with or without guidance: prac-
tical exercises, excursions, intern-
ships, interviews, practical and
theory lessons, lectures, workshops
and independent study in and outside
the buildings of the Academy. Study
load is also referred to as study
hours and is expressed in credits.
Test
A written or an oral review of the
knowledge, the insights and the
skills of the student as well as the
assessment of the outcomes of that
review.
Admissions committee
A committee set up by the institu-
tion’s management, represented by the
faculty director, responsible for
assessing the attitude and suita-
bility of a candidate for a course
(7.26a).
Entrance review
Review of the suitability of a poten-
tial student.
Higher Education and Research Act (WHW)
The Act on Higher Education and
Research, Bulletin of Acts, Orders
and Decrees 593, 1992; Implementing
Decree 2008 Text as in force on 1
July 2011.
WSF
Act on Student Grants and Loans,
Student Finance Act

Article 3 Progammes

Bachelor programmes
The Bachelor programmes have a
different propaedeutic phase for
each subject. Students who pass their
propaedeutic phase are entitled to go
on to the main phase of their chosen
subject.

a. Fine Arts
/ Visual Arts, full-time and
part-time: in the main phase
students taking this programme
can opt for the specialisation
Fine Arts, 3D, Graphic Art, and
Painting.
/ ArtScience, full-time, provided
by the Interfaculty ArtScience.
b. Detsign
Profile Visual Communication
/ Graphic Design, full-time and
part-time;
/ Photography, full-time and part-
time;
/ Interactive/Media/Design, full-
time.
Profile Spatial Design
Interior architecture and Furniture
design, full-time and part-time: in
the main phase students can opt for
Furniture design.
Profile Product Design
Textile and Fashion, full-time. In
the main phase students can opt to
specialise in Fashion or Textiles.

Masters and advanced programmes
The Royal Academy of Art has four
advanced programmes.
/ Master in Design of Type & Media
/ Master Interior Architecture
/ Master track ArtScience and
p.224
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
/ Master track Artistic Research
as a variant of the Master track
ArtScience
The latter two are collaboration
between the Royal Academy of Art and
the Royal Conservatoire. The Post
Graduate Course on Industrial Design
is also offered.
Programmes offered in collaboration
with the University of Leiden are:
/ Master (MaFPS) Photographic
Studies
/ Master (Msc) Mediatechnology.
Admission
Article 4 Previous training
(Higher Education and Research Act 7.24)
All candidates in possession of a
secondary school certificate (VWO
pre-university, HAVO senior voca-
tional education, MBO (four years)
senior secondary vocational educa-
tion) or an equivalent foreign
qualification may enrol for one
of the bachelor programmes at the
Royal Academy of Art. In the case
of a foreign diploma the Netherlands
Organisation for International Coop-
eration in Higher Education may carry
out a credential evaluation if there
is any doubt. The costs of this are
paid by the candidate.
Article 5 Exemption from previous training
requirements on the grounds of other diplomas
(Higher Education and Research Act 7.28)
Exemption from the required previous
training (article 5) is given to
those who hold:
/ a certificate for passing
a propaedeutic or final
examination from an institution
of higher education;
/ a diploma awarded in the
Netherlands or elsewhere
that has been designated by a
ministerial ruling that it is at
least equivalent to one of the
diplomas referred to;
/ a diploma awarded in the
Netherlands or elsewhere which
has not been referred to in a
ministerial ruling but which the
board of the institution deems
to be equivalent to one of the
diplomas referred to.
Article 6 Supplementary requirements
(Higher Education and Research Act 7.26a)
To be enrolled in one of the
programmes candidates in addition to
the aforementioned previous training
requirements must meet specific
requirements set by the programme to
be able to study successfully.
These requirements are:
/ demonstrable creative and visual
or design skills; this will be
verified during the entrance
review;
/ sufficiently motivated choice
for one of the degree course;
this will be verified during the
entrance review;
/ sufficient command of the
Dutch or the English language;
during the period when the
English language is used to
communicate the candidate must
gain sufficient command of the
Dutch language. The ability to
communicate adequately in Dutch
or English is verified during
the entrance review.
The holder of a foreign diploma can
only enrol:
/ after the requirement regarding
sufficient command of Dutch or
English has been met, and
/ after it has been demonstrated
that the requirement of
sufficient command of English at
the level of the Dutch senior
general secondary education has
been met.
p.225
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Deficiencies in the previous training
in English need to be remedied before
the programme begins by taking one of
the following tests:
/ International English Language
Testing System (IELTS), academic
module. The minimum required
IELTS overall band score must be
6.0.
/ Test of English as a Foreign
Language (TOEFL).The minimum
required TOEFL score is: 83
(internet-based test).
Article 7 Entrance review
/ the entrance review takes place
by an admissions committee set
up by the institution’s board;
/ the committee comprises the
head or the coordinator of the
degree course and a number of
members to be designated by the
institution’s board;
/ a student may be a member of the
admissions committee;
/ the head or the coordinator is
the chairman and secretary of
the committee;
/ the entrance review takes place
on the basis of the admission
criteria set by the relevant
degree course with regard to the
supplementary requirements;
/ the result of the entrance
review is notified to the
institution’s board in the
form of a recommendation for
admission;
/ the institution’s board
decides on the basis of the
recommendation whether, and if
need be, under what conditions
an aspiring student is admitted
to one of the degree courses of
the Academy;
/ no appeal is possible against a
negative decision on admission
by the institution’s board.
Article 8 Exemption from previous training require-
ments on the grounds of the entrance review
Students aged 21 years or older
who do not meet the aforementioned
previous training requirements or the
criteria for exemption from these can
be admitted if they comply with the
requirements of the entrance review
as referred to in article 6, and
who by taking a test or examination
authorised by the institution demon-
strate that they have a comparable
level of training as a person with
a diploma from one of the previous
training programmes referred to in
article 4.
The institution’s board may deviate
from this age criterion in excep-
tional cases.
Article 9 Admission to the main phase
Students who have passed their
propaedeutic phase can continue their
studies in the main phase of the
same degree course. In consultation
with the head of the degree course in
question it is possible for students
to continue their studies in another
discipline at the Academy.
Article 10 Conditions for admission
to the main phase
/ the propaedeutic examination has
been passed;
/ the examination committee, on
behalf of the institution’s
board, can grant exemption from
the requirement of a passed
propaedeutic examination to the
holder of a diploma awarded in
the Netherlands or elsewhere
if the diploma, in the opinion
of the examination committee,
is at least equivalent to
the propaedeutic examination
certificate;
/ the student who has taken the
propaedeutic part of a degree
course, but has not yet passed
the propaedeutic examination,
can take part in the main phase
of the programme if in the
opinion of the propaedeutic
p.226
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
examination committee the
student is deemed to be capable
of completing the parts which
have not yet been passed in the
first subsequent semester.
Duration and structure of the programme
Article 11 The propaedeutic phase
(Higher Education and Research Act 7.8)
Each degree programme at the Academy
has its own propaedeutic phase which
is geared to the main phase of that
specific degree course including the
accompanying specialisations. The
propaedeutic phase counts for 60 EC
and takes one year of study for the
full-time and part-time course new
style, and one and a half years of
study for the part-time course old
style and is concluded by the propae-
deutic examination in the form of an
assessment.
The parts of the study in the propae-
deutic phase constitute a cohesive
base for the main phase. The propae-
deutic phase is arranged in such a
way that students obtain insight into
the content of the degree subject and
the future profession with the possi-
bility of referral and/or selection
at the end of this phase. The curric-
ulum of the propaedeutic phase is
described in the study guide.
Article 12 The main phase
The main phase involves 180 EC
credits and takes three years of
study for the full-time and part-
time course new style and three and
a half years of study for the part-
time course old style. The aim of the
main phase is to prepare students for
professional practice in the field of
the visual arts and design. The main
phase is subdivided into a subject
phase and a final phase. The main
phase full-time and part-time new
style is subdivided into a subject
phase: semesters 3, 4, 5, 6 and a
final phase: semesters 7 and 8. The
main phase of the part-time old style
course comprises a subject phase:
semesters 4, 5, 6, 7 and 8 and
a final phase: semesters 9 and 10.
The curriculum of the main phase is
described in the study guide and on
the website.
Assessments
Article 13 General
/ 1. Every semester comprises one
or more study components. Each
study component is concluded
with an individual assessment;
see also paragraph 5 of this
article.
/ 2. The individual assessment,
which is based on criteria,
procedures and regulations
established in advance, involves
a review of the extent to which
the student meets the set
criteria and the determination
of the assessment score of
the review. The criteria are
stipulated for each study
component and each degree
programme. The procedures and
regulations of the individual
assessment are described in
article 17.
/ 3. In cases arising, such as
the Visual Arts, the individual
assessment coincides with the
collective assessment.
/ 4. At the end of each semester
the assessment committee makes
an integrated assessment
which is called the collective
assessment. The assessment
committee gives a pass if the
requirements set beforehand have
been met.
/ 5. In the collective assessment
work done by the student in the
preceding semester is assessed.
The individual assessments are
discussed and considered and
ultimately brought together
by a decisive collective and
integrated judgement.
/
p.227
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ 6. The collective assessment,
based on criteria, procedures
and regulations set beforehand,
involves a review of the extent
to which the student meets the
criteria and the determination
of the assessment score of
the review. The criteria are
defined for each degree course
bearing in mind above all
artistic ability, presentation
and communication about the
work and the capacity for
critical reflection and growth
and innovation. The procedures
and rules of the assessment are
given in article 17.
/ 7. All assessments (individual,
collective, practical exercises,
theory subjects and any other
forms of assessment) are scored
as follows: a result of 6 or
higher is a pass. Results below
6 are fails.
Article 14 Assessment times and
number of assessments
A collective assessment takes place
after every semester. The number of
collective assessments in the propae-
deutic phase:
full-time and part-time new style:
one semester assessment and one
propaedeutic assessment, the propae-
deutic exam;
part-time old style: two semester
assessments and one propaedeutic
assessment, the propaedeutic exam;
The number of collective assessments
in the subject study phase: full-time
and part-time new style: assessments
at the end of semesters 3, 4, 5 and 6;
part-time old style: assessments
after the end of semesters 4, 5, 6, 7
and 8.
The number of collective assessments
in the final phase: full-time and
part-time new style: an assessment at
the end of semester 7, after which
the green light assessment follows,
and the final assessment;
Part-time old style: an assessment at
the end of semester 9 after which the
green light assessment follows, and
the final assessment.
Article 15 Sequence of the assessments
General: students must pass the
collective assessment of a preceding
semester before proceeding to the
next part of the programme. Student
may be given the opportunity to
continue with their studies if it is
plausible to assume that they will
pass the next subsequent collective
assessment.
/ 1. Students must have passed
the preceding assessments to
take part in the assessments
of semesters 3, 4, 5, 6 of
the full-time course and the
part-time course new style and
semesters 4, 5, 6, 7, 8, of the
part-time course old style.
/ 2. Students must have passed all
preceding assessments and have
acquired the necessary 210 EC
credits to be able to embark on
the study components in semester
8 of the full-time course and
the part-time course new style
and semester 10 of the part-time
course old style.
/ 3. A non-binding recommendation
is given on participation in the
final examination, once students
have passed all the preceding
study components after semester
7 of the full-time and part-time
course new style and semester
9 of the part-time course old
style. The recommendation is
binding if students have failed
the preceding study components
and they have not obtained the
requisite 210 EC credits for the
programme.
p.228
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
/ 4. Students are given the green
light if they have passed all
the preceding study components
and there is confidence that
they will pass the final
examination’s format and
content. Students are given the
amber light if there are doubts
about the completion of the
preceding components or them
passing the final examination’s
format and content but there
is nevertheless the chance of
a pass. Students are given the
red light if the assessment
committee is of the opinion that
a student has no real chance of
passing the assessment in the
final examination: a negative
recommendation for the final
examination. The ‘red light’
is binding if the verdict on
the final examination relates
to a student who has still not
passed all the preceding study
components, that is to say has
still not acquired the requisite
210 EC credits.
Article 16 Individual assessment/Procedure
/ 1. Each study component is
concluded with an assessment.
/ 2. The individual assessment
takes place prior to the
collective assessment.
/ 3. Individual assessments take
place as a rule one to two
weeks before the collective
assessments stipulated in the
timetable unless these relate
to study components which only
took place during a shorter
period in that semester. In the
latter case the date and time
of the individual assessment is
notified to the student by the
teacher.
/ 4. When the occasion arises,
as is the case with the Visual
Arts, the individual assessment
coincides with the collective
assessment.
Article 17 Collective assessment/ Rule
/ 1. The Academy has an assessment
committee for each degree course
comprising the head and the
accompanying teachers.
/ 2. The collective assessment is
carried out by the assessment
committee.
/ 3. The collective assessment
relates to all the study
components that belong to the
semester to be assessed. The
assessment takes place on the
basis of the results of the
practical and/or theoretical
work on those study components.
/ 4. The assessment committee
assesses the work and decides
on the assessment results in
consultation.
/ 5. Students may be given
the opportunity to give an
explanation on presentation of
the results for their study.
/ 6. The collective assessment
is concluded with a meeting
of the assessment committee in
which the assessment results
are formulated and recorded.
If need be the committee
makes a recommendation on the
continuation of the students’
studies or the choice of a
specialism.
/ 7. The chairman of the committee
also determines the number of EC
credits obtained.
Article 18 Propaedeutic phase assessment/Rules
(Higher Education and Research Act 7.8)
/ 1. The propaedeutic phase is
concluded with a propaedeutic
examination in the form of the
propaedeutic assessment.
/ 2. The propaedeutic assessment
takes place by an assessment
committee.
p.229
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ 3. The Academy has an
assessment committee for
each degree course for the
propaedeutic phase comprising
the head and accompanying
teachers.
/ 4. The assessment committee
checks to see the extent to
which the candidate meets the
criteria stipulated on the
basis of previously determined,
general and subject-related
criteria, procedures and rules,
and determines the assessment
result of that review.
/ 5. Students pass the
propaedeutic exam if they pass
the individual and collective
assessments.
/ 6. The propaedeutic assessment
is concluded with a meeting of
the assessment committee in
which the result is decided and
recorded.
/ 7. The committee may advise
the faculty director to give a
binding negative recommendation
on the continuation of the study
or choice of specialisation. See
article 19 of these regulations.
/ 8. If students pass the
propaedeutic assessment
a certificate is awarded
indicating that they have passed
the assessment and that 60 EC
credits have been obtained.
/ 9. The propaedeutic phase has
to be completed within 2 years
for the full-time and part-time
courses new style.
Article 19 Rules on the study recommendation and
rejection (Higher Education and Research Act 7.8b)
All propaedeutic students at the
Academy, both full-time and part-
time, receive a recommendation on
the continuation of their course
of studies, within the programme
or elsewhere, at the end of their
propaedeutic phase. Students who have
not passed the propaedeutic assess-
ment and who, bearing in mind their
personal circumstances, are not
deemed by the Academy to be suit-
able for the main phase of the degree
course, may be given a recommendation
which involves a binding rejection:
the binding negative recommendation.
Such a recommendation is also noti-
fied to the candidate in writing
by one of the faculty directors,
or a deputy, in a signed document.
The binding negative recommenda-
tion refers to the procedures that
students must pursue if they wish to
lodge an objection or appeal against
the recommendation.
The recommendation comprises one of
the following options:
/ A positive recommendation: the
Academy expects on the basis of
the results of the study that
the student can pursue the study
successfully and promotes the
student to the main phase of the
degree course in question.
/ A binding negative
recommendation: this entails
that the student cannot continue
the course of study and can
no longer enrol for the same
degree course at the Academy.
The binding nature applies
to the full-time and part-
time variant. Students receive
this recommendation if the
assessment committee on the
basis of the results of their
studies arrive at the conclusion
that the student will not be
able to complete the course
successfully.
/ A deviating recommendation with
the possibility of resitting
the propaedeutic assessment or
part of this: students who show
talent but fail to back this up
sufficiently in their results
may be given this recommendation
if the assessment committee
expects that repeating (parts
of) the propaedeutic phase
p.230
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
offers the students sufficient
basis for successfully pursuing
the study, notwithstanding
the provision of article 18
paragraph 9. The assessment
committee gives the reasons
for this expectation in its
recommendation.
A deviating recommendation is
possible as a result of exceptional
personal circumstances. Exceptional
circumstances are those listed below
insofar as in the opinion of the
assessment committee they have been
an obstacle to students obtaining
satisfactory results. They include:
/ Student’s demonstrable and long-
term illness;
/ Student’s serious personal
circumstances;
/ Pregnancy of the student;
/ Membership of the participation
council;
/ Board membership of a foundation
which by virtue of its charter
runs student amenities as
referred to in the act;
/ Board membership of a students’
organisation of some size or a
comparable organisation which
primarily serves the interests
of the arts in society and to
this end organises activities;
/ Other circumstances than
those listed above as a result
of which a binding negative
recommendation at that moment
in the opinion of the assessment
committee would result in
serious unfairness.
Students inform their mentor as
soon as possible of any exceptional
circumstances. If students do not
regard their mentor as being the
suitable person for this they get
in touch with the student dean who
informs the assessment committee
of the circumstances in writing.
The information may serve no other
purpose than the study recommendation
and is only made available to the
assessment committee which adds this
separately to the student’s file, as
does the mentor.
A recommendation rejecting further
study can only be made if the
following criteria are met:
/ All students upon commencing
the first year of enrolment for
the propaedeutic phase of the
programme are made aware of the
criteria and the procedure with
regard to the recommendation
on further study and the
possibility of rejection.
/ The mentor for the propaedeutic
phase has an individual talk
with individual students twice
a year. The first talk takes
place as soon as possible after
the assessment of the first
semester and the results of this
are discussed. The second talk
takes place in the course of the
second semester, possibly in
the third semester in the case
of part-time courses old style.
Students are given information
about the recommendation on
further study in the first
interview.
/ During the interviews students’
results are also available to
the students. Any exceptional
personal circumstances can
also be discussed during this
interview alongside these
results.
/ The mentor makes a record
of the outcome of these
interviews and adds these to the
student’s file. Any exceptional
circumstances are included in a
separate report that is kept in
the student’s file. The mentor
informs the assessment committee
of these circumstances in
writing.
p.231
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
The binding negative recommendation
can be issued as long as the student
has not yet passed the propaedeutic
examination and can therefore also
be made during the second year of
enrolment for the propaedeutic phase.
If the student fails to pass the
propaedeutic phase at the end of the
second year of enrolment this auto-
matically entails a binding negative
recommendation unless the Examination
committee, at the recommendation of
the relevant assessment committee,
decides otherwise.
Article 20 Semester assessment
/ 1. Each semester is concluded
with a semester assessment
comprising a collective
assessment, preceded by or
integrated with the individual
assessments (see articles 16
and 17). In the last semester
of the propaedeutic phase
the assessment is called the
propaedeutic assessment and in
the last semester of the main
phase this is called the final
assessment.
/ 2. As soon as the technical
development of the Academy
network allows and students have
been explicitly informed about
it, students will be expected to
make available a digital version
of all the work to be assessed
and keep that available so that
this can be held in digital form
by the Academy as a portfolio
of the individual student’s
programme.
Article 21 Final assessment or final examination
/ 1. The final phase of the study
is concluded with the final
assessment or concluding exam.
/ 2. The assessment committee
examines the degree to which the
candidate meets the set criteria
and determines the assessment
result of that examination
on the basis of criteria,
procedures and rules established
beforehand.
/ 3. The assessment criteria are
defined for each degree course.
/ 4. Students have past the course
if they score a pass on the
assessments of the parts of the
study of the main phase.
/ 5. If students pass the final
assessment they are awarded a
certificate.
Article 22 The assessment committee
The Academy has assessment commit-
tees for each degree course for the
propaedeutic assessment, the semester
assessments and the final assessment.
These assessment committees have
different competences depending on
their tasks. A description is given
below of the committees and their
competences.
Article 23 Propaedeutic assessment committee;
Composition and method of working
/ 1. The Academy has an assessment
committee for each degree course
functioning under the auspices
of the Examination Committee,
comprising the head of the
degree course and the teachers
who teach the course.
/ 2. The head of the degree
course is the chairman of the
assessment committee, the coach
or the coordinator is the
secretary and teachers who teach
the relevant parts of the course
of study are the members.
/ 3. The chairman determines
whether the student to be
assessed may attend the
assessment.
/ 4. The committee formulates a
recommendation on whether or
not the student should continue
with the course of study and
possibly pursue the study in
p.232
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
a particular subject on the
basis of the outcome of the
propaedeutic assessment at the
end of the second semester for
full-time and part-time new
style students and the third
semester for part-time old style
students. See article 19 of
these regulations.
Article 24 Semester assessment committee;
Composition and method of working
/ 1. The Academy has an assessment
committee for each degree course
functioning under the auspices
of the Examination Committee,
comprising the head of the
degree course and the teachers
who teach the course.
/ 2. The head of the degree
course is the chairman of the
assessment committee, the coach
or the coordinator is the
secretary and the teachers who
teach the relevant parts of the
course of study are the members.
/ 3. The chairman determines
whether the student to be
assessed may attend the
assessment.
/ 4. The committee formulates
a recommendation for each
student on the basis of the
outcome of the assessment
of the semester in question.
The recommendation relates to
admission or otherwise to the
main phase of the study and
to pursuing the study in a
particular specialisation, where
applicable.
Article 24a Rules for the semester and
propaedeutic assessment committees
/ 1. Planning, organisation and
coordination of the presentation
of the work to be assessed
is the responsibility of the
chairman of the assessment
committee. For this presentation
each component of the study
should be presented in such a
way that a good impression can
be obtained of the performance
of the student to be assessed.
/ 2. Vote: the committee may take
a vote if the outcome of the
assessment gives rise to this.
The committee takes its decision
on the basis of a majority
vote. If the vote is tied, the
chairman has the deciding vote.
/ 3. Deciding on a postponed
assessment: if the presentation
of the work of the student is
incomplete the chairman may
set a deadline by which an
assessment will take place
and the procedure that will be
adopted for this.
/ 4. Study progress: if students
fail to pass a course year
and the committee is of the
opinion that they would be able
to continue with their studies
after obtaining a pass, the
committee can decide to make the
assessment again after a certain
period. This period may never be
longer than the length of the
subsequent semester.
/ 5. Determining the number of
ECTS credits obtained: the
chairman of the assessment
committee determines the number
of EC credits obtained.
/ 6. Recording the results of
the assessment: the chairman is
responsible for ensuring that
a record is kept of the study
results. The chairman dates and
signs the form indicating the
results of the assessment. After
the form has been signed the
results are officially ratified.
The chairman is responsible
for directly handing over the
assessment results to the
student administration office
for the purposes of declarations
and certificates.
p.233
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ 7. Further procedure: the
chairman is responsible for the
further procedures arising as a
consequence of the assessment
results. Students who in the
opinion of the assessment
committee have performed
unsatisfactorily in whatever
way must be informed by means
of a letter and/or an interview
of the possible consequences of
the assessment. The decisions
on this must be reported on the
assessment form.
/ 8. The chairman informs the
faculty director about all
matters of a problematical
nature that will not be dealt
with by the assessment committee
itself or matters for which
these regulations do not
provide.
Article 25 Final assessment committee:
Composition and method of working
(Higher Education and Research Act 7.12)
/ 1. The Academy has an assessment
committee for the final
assessment: the final assessment
committee, functioning under
the auspices of the Examination
Committee. The committee
comprises a chairman, the head
of the degree course and (a
core team of) teachers who teach
students during the final phase
of the study.
/ 2. At the invitation of the
director one or more external
experts may join the final
assessment committee as a
member of the final examination
committee
/ 3. The final examination is
public. The public character of
the final assessment does not
include the deliberations of the
final examination committee.
/ 4. The final assessment
committee determines on the
basis of the outcome of the
final assessment whether the
student has passed or failed the
course.
Article 26 Final examination regulation
Royal Academy of Art
/ 1. The final exam (or final
assessment) is arranged in
conformity with the provisions
of the Higher Education and
Research Act (7.12). The final
exam takes place in the form of
a final assessment.
/ 2. The composition of the
assessment committee for the
final assessment, the final
assessment committee, is
described in article 25 of these
regulations.
/ 3. The final assessment
committee decides on the
final examination work in a
collective assessment, in which
the substance of the verdict
of the external members is
taken into account, as are the
assessments of the individual
elements which are part of the
final examination phase. The
work presented plays a decisive
role in this whole. The question
that is asked is whether the
work makes visible as a cohesive
whole an authentic vision of
the visual arts or design, and
whether the individual theme and
research incorporated in it has
been brought into the public
domain in an articulate way.
› 3a. The number, subject,
technique and execution of
the works are determined in
consultation with the teachers
involved and the head of the
degree course in the light
of the goal of the final
examination as described in
paragraph 3 of this article
and in the description of
the programmes of the degree
courses in the Education and
Examination Regulations. For
p.234
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
the theory subjects a written
paper is required, the subject
and the size of which is
determined in consultation
with the teacher in question.
The paper must be submitted in
triplicate: one copy for the
student, one for the teacher
and one for the records in the
library. The copy of the final
paper given to the teacher
and the library remain the
property of the Academy. If
possible the final paper must
also be handed in in digital
form preferably in PDF format.
/ 4. For all papers/pieces of
work submitted for assessment
the rule is that they must have
been made under the supervision
of the teacher or teachers
in question and must have
been accepted as such by the
teacher(s).
/ 5. All presented pieces of
work need to be verifiably
the inalienable intellectual
property of the candidate.
/ 6. The final assessment
committee takes its decision on
the basis of a majority vote. If
the vote is tied the chairman
has the deciding vote.
/ 7. As soon as possible after
the final assessment, but at
the latest within three days,
the outcome is notified to the
candidate by the secretary of
the final assessment committee.
After processing the data the
candidate receives a judicium
or verdict indicating the score
and the outcome. The formulation
of the score comprises a final
grade and/or a list of grades
and/or a reasoned written
declaration.
/ 8. When it becomes apparent
that the student has not passed
all the necessary preceding
components of the study a
decision is taken as to how and
when a student will be given the
opportunity to nevertheless pass
these components. The student
is informed of this effect by
the chairman or the secretary of
the final assessment committee.
Completion, if possible, will
take place before the end of the
current academic year in other
words by 1 September, otherwise
the student will be required to
re-enrol.
/ 9. Awarding of certificates and
declarations is described in
article 30 of these regulations.
/ 10. Resits: the final
examination committee may grant
students the opportunity to
take a resit if a candidate has
failed one or more parts of the
exam.
› The final assessment committee
decides at the final
assessment committee meeting
whether one or more resits can
be taken if in the opinion of
the final assessment committee
the candidate can be deemed
capable of passing the final
assessment if one or more
resits is taken.
› Candidates who are eligible
to take one or more resits are
required within seven days
after the announcement of the
outcome to submit a request
to take one or more resits
to the chairman of the final
assessment committee.
› The chairman of the final
assessment committee determines
the date, time and place of
the resit which has to be
taken at the latest before the
start of the new course year.
› The final assessment committee
may decide on an ‘extended
examination’, that is to say
postponement of the final
assessment if a candidate
presents an incomplete final
examination collection for
one or more parts of the exam.
An ‘extended examination’
p.235
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
is conditional on the final
assessment committee’s view
that a resit, that is to say
the presentation of more work
or work again is impossible
before the beginning of the
new course year, and that the
candidate is deemed capable
of passing the complete final
examination within the period
of one semester.
/ 11. Extended examination: the
candidate who has been declared
eligible for the ‘extended
examination’ must submit a
request for postponement of
the final examination to the
chairman of the final assessment
committee within seven days
of the announcement of the
aforementioned decision. The
chairman of the final assessment
committee determines the
date, time and place of the
postponed final assessment
which has to take place at the
latest before the end of the
semester subsequent to the final
assessment. If the candidate
does not wish to avail himself
of the extended examination, he
is deemed to have failed.
/ 12. Inability to participate
in the final assessment or
part of this as a result of
illness, accident or serious
family circumstances must be
notified to the chairman of
the final assessment committee
before the commencement of
the final assessment. Written
proof must be submitted for
acknowledgement of the inability
to take part. A new date for the
final assessment can be decided
on in consultation with the
chairman of the final assessment
committee.
/ 13. Candidates may lodge an
appeal against the outcome
of the final assessment in
conformity with the valid rules
stipulated in article 33.
/ 14. A book and/or CD ROM/DVD
will be compiled of the final
exam work of all candidates
taking full-time and part-time
courses at the Academy. Every
student is obliged to supply
material for this before the set
deadline.
/ 15. A final examination
candidate can only participate
on one occasion in this
publication. An endeavour is
made to have the date of issue
of the final exam book and/ or
CD ROM/DVD coincide with the
diploma awarding ceremony.
› 15a.Participation in the final
examination exhibition is a
one-off event and subject
to conditions. If the final
assessment committee or the
final examination exhibition
coordinator commissioned by
the director is of the opinion
that the presentation of the
student is incomplete the
student may be excluded from
participating in the final
examination exhibition.
/ 16. In cases where these
regulations do not provide, the
faculty director or the deputy
decides.
Article 27 Exemption
An assessment committee may, on
behalf of the Examination Committee,
at the request of a student grant
exemption for one or more compo-
nents of the study on the basis of
a qualification, diploma, certif-
icate or other documentary proof
from which it is apparent that the
student has already met the require-
ments of that part of the course. The
request must be submitted in writing
to the chairman of the assessment
committee or direct to the Examina-
tion Committee. The relevant docu-
mentary evidence must accompany the
written request. The validity of an
exemption granted is unlimited unless
the content of that component of
p.236
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
the study changes as a result of an
amendment to the Education and Exam-
ination Regulations. If an exemption
is granted the student is sent a
notice of exemption.
Article 28 Resits/re-examination (see also article 24a)
/ 1. The assessment committee
determines on the basis of
the results of the assessment
whether a student is eligible
for a resit and what conditions
apply to a resit.
/ 2. Individual assessments
of theoretical subject: if
a student has failed the
assessment of a theory subject
a resit is possible. The resit
must have taken place by the end
of the relevant course year.
/ 3. Individual assessments of
design subjects or visual
subjects: if a student fails an
assessment of a design subject
and visual subjects a resit
can take place. In certain
situations a compensation
arrangement applies or the
activities in a subsequent
semester may count as a resit
for assignments that were failed
during a preceding semester.
/ 4. Collective assessment:
in certain situations if a
student fails a collective
assessment a resit can take
place by obtaining a pass for
a collective assessment in the
next semester.
Article 29 Registration and announcement of
assessment results; validity of results
/ 1. The assessment committee uses
a form to record the assessment
results for each student at the
meeting after the collective
assessment. The chairman of the
assessment committee signs the
forms.
/ 2. The outcome of the assessment
is stored for each student in
the student tracking system by
the Student administration.
/ 3. The outcome of the assessment
is notified to the student as
soon as possible after the
collective assessment.
/ 4. The student receives a report
of the assessment after it has
taken place, including the
assessment of the performance
and the outcome of the
assessment.
/ 5. Students who fail the
assessment receive an overview
as soon as possible after an
assessment indicating whether a
resit is possible.
/ 6. In the case of students
temporarily interrupting their
studies results obtained remain
valid for one year. In principle
after this students are required
to retake their entrance. The
admissions committee also makes
a recommendation as to whether
earlier credits obtained are
still valid.
Article 30 Declarations and certificates
(Higher Education and Research Act 7.11)
/ 1. Students receive a written
declaration giving the outcome
of the assessment and, where
applicable, the recommendation
made as soon as possible after a
collective assessment and after
the student administration has
made a record of the assessment
results.
/ 2. Students who pass the
assessment receive a certificate
giving the outcome and the
recommendation for further
study after the propaedeutic
assessment and after the student
administration has made a record
of the assessment results.
p.237
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
/ 3. Students who have passed
the final assessment receive a
certificate giving the outcome
of the final assessment and the
status of the diploma obtained
after the final assessment and
after the student administration
has made a record of the
assessment results.
/ 4. The institution’s board
grants the degree of Bachelor
and the degree of Master
to those who have passed
the final examination of a
Bachelor programme or the
final examination of a Master
programme respectively
/ 5. The institution’s board
adds to a degree the discipline
or the professional domain
to which the degree applies.
Bachelor of Fine Arts (Bfa)
for those who have graduated
in the Visual Arts and Bachelor
of Design (Bdes) for those who
have graduated in Design. Master
of Design in Type and Media
(MaDes).
/ 6. Students who have passed
several assessments but to whom
no certificate in the sense of
article 30 paragraphs 3 and 4
can be awarded, receives on
request a declaration by the
Royal Academy of Art listing
the assessments that have been
passed. The student must submit
the request in writing to the
faculty director.
Article 31 Irregularities
/ 1. If a student is culpable of
any irregularity with regard
to any part of an assessment,
the chairman of an assessment
committee may refuse him
participation or further
participation in an assessment.
/ 2. If the irregularity is
first discovered after a
propaedeutic assessment or the
final assessment the assessment
committee may refuse the student
the certificate referred to in
article 7.11 paragraph 1 of the
Higher Education and Research
Act or may determine that the
student may only be awarded
the certificate after a new
assessment of the parts to be
designated by the assessment
committee and in a way which the
committee determines.
/ 3. Prior to a decision being
taken by virtue of paragraphs
1 and 2 the chairman of the
assessment committee hears the
assessment committee and the
student.
/ 4. The chairman consults at all
times with the faculty director.
/ 5. The chairman reports the
decisions immediately to the
student, if possible in person,
and in any event in writing.

Article 32 Safe-keeping
/ 1. For the duration of an
appeals procedure lodged by a
student all the theoretical and
practical working items need
to be kept safe. The student
is responsible for keeping the
aforementioned items.
/ 2. For the duration of an
appeals procedure lodged by a
student all applicable theory
and practical assignments
given need to be kept safe.
The Academy is responsible
for keeping the aforementioned
items.

Article 33 Objection and appeal arrangements
/ 1. Students who deem that their
interests have been directly
damaged as a result of what
is in their opinion a wrong
application of the Education
and Examination Regulations,
p.238
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
are entitled to lodge a written
appeal within thirty days
with the Board of Appeal for
Examinations of the University
of the Arts, The Hague.
/ 2. The Board of Appeal gives
judgement on the appeal that has
been lodged against:
› decisions to fail the
student with a binding study
recommendation as referred to
in article 19;
› decisions on admission to
the final phase and final
assessment as referred to in
article 15 paragraph 2 to 4
and article 26;
› decisions on the number of
credits obtained;
› other decisions by assessment
and examination committees and
examiners.
/ 3. The appeal can be lodged if:
› the decision is in
contravention of any generally
binding regulation, for
example the Education and
Examination Regulations;
› in taking the decision the
body obviously used its power
for other purposes than that
for which it was originally
intended;
› in weighing the interests in
question the body involved
could not in all reasonableness
have taken the decision;
› the decision is contrary to
any other principle of good
administration prevailing as
part of the general sense of
justice;
› the further provisions
regarding the procedure, the
handling and the verdict can be
found in the Legal Protection
chapter of the Student Charter
of the University of the Arts,
The Hague.
Article 34 Misconduct
Misconduct including vandalising or
inflicting damage on the building
and/or aggression towards persons is
notified to the director who will
then take measures. The measures may
be:
/ order to immediately restore the
damage;
/ suspension or denial of access
to the buildings and area.
Article 35 Copyright
All the work that students make
during their study is part of the
study and also serves as the basis
for the credits obtained during the
study. This is why the work during
the entire duration of the student’s
study is the property of the Royal
Academy of Arts. Naturally students
have right of use. Once students
have been deregistered the right of
ownership passes to them. The Royal
Academy of Arts retains the right to
use the work at a later date as well,
without any remuneration, within
the context of its own objectives.
If a former student becomes affil-
iated to an intermediary agency in
the field of copyright the student is
obliged to inform that agency of this
arrangement. The digital “conver-
sions” of the work assessed as part
of the semester assessments remain
available to the academy for appro-
priate use within the objectives of
the academy.
Article 36 Tests and exams
(assessments) for disadvantaged students
Disadvantaged students can take part
in the tests and examinations in a
way that allows for their disadvan-
tage. They can come to an agreement
for this purpose with the head or
the coordinator of the degree course
and/or if need be submit a request
to this end to the Examination
committee.
p.239
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
8. Organisation and Facilities
In addition to a wide range of other
topics, you can find the most up-to-
date information about the following
matters on the KABK website:
/ Organisation
/ Student housing
/ Financial matters
/ Facilities/workshops
/ Collaborations of the KABK
/ KABK digital
/ Art Student Union
/ Alumni
possibilty.
p.241
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−


S
t
u
d
y
g
u
i
d
e
Colophon
Design
Studio KABK 2012/2013
Anton Lamberg &
Arthur Reinders Folmer
Editor
Wieneke Mulder
Eric Privee
in cooperation with heads
of the departments
Translation Studyguide
Tamara de Groot
Printer
Veenman+, Rotterdam
Paper
Cyclus offset
80gr & 200gr
Colors
Pantone 072
Pantone Black 5
Typefaces
Berthold Akzidenz Grotesk
Akkurat Mono Calendarium/Regular
Royal Academy of Art
Adress
Prinsessegracht 4
2514 AN The Hague
Contact
tel 070 315 47 77
fax 070 315 47 78
[email protected]
www.kabk.nl
p.242
R
o
y
a
l

A
c
a
d
e
m
y

o
f

A
r
t


−

S
t
u
d
y
g
u
i
d
e
-

“
I

t
h
i
n
k

w
e

s
h
o
u
l
d

b
e

l
e
a
v
i
n
g

n
o
w
.
”
,

-

“
Y
e
a
h
.

T
h
a
t
’
s

p
r
o
b
a
b
l
y

a

g
o
o
d

i
d
e
a
.
”
“Well, uh, hope you folks enjoyed yourselves. Catch ya further on down
the trail. Say, friend - you got any more of that good sarsaparilla?”