|SCIENTIFIC DISCIPLINARY SECTOR||ICAR/17|
|SECTIONING||This unit is divided into 2 sections:|
Prerequisites (for future units)
The Laboratory, through a "mixed" didactic - frontal and application -, on the one hand, provides the preliminary theoretical knowledge and foundations with respect to the multiple themes of graphic design, on the other, provides their immediate application feedback in order to help the student in learning and experimenting methods, techniques and tools for reading and designing graphic communication.
This workshop aims to bring students closer to the world of publishing and advertising, analyzing how visualization systems can convey a message through the various forms of media. The course focuses on analyzing media and graphic products, teaching various visualization techniques and tools, as well as designing projects for new and innovative expressive models.
This module particularly aims to provide the fundamental theoretical knowledge to critically analyze both graphic products and graphic projects. In this sense, the basic themes of visual artifact production (image, text, additional elements) are proposed with references to theories, methods and various representation techniques - drawing, illustration, photography, dynamic images, but also through references to neighboring theoretical areas such as semiotics, semantics, rhetoric, etc.
This is to accustom students to attach communicative and cultural meanings (necessary for a mature and academic approach to the project) to the production of signs.
Teaching is articulated through lectures and project activities both in the classroom, both in assisted mode and independently. For greater training effectiveness, project teaching is considered through thematic workshops on diversified contents and languages.
The topics to be addressed in the Laboratory can be traced back to the following disciplinary themes: history and culture of visual communication (the components of visual communication design, historical notes, cultural references, the example of masters for the understanding of the evolution of graphic design); tools and techniques for reading, designing and development of the project idea (from the sketch to the executive representation of the project); theories, methods and tools for the project (visual perception, problem solving, target, graphic cages, geometry, etc.).
E. Bistagnino, Il Disegno nella Scuola di Ulm, FrancoAngeli, Milano, 2018.
E. Bistagnino, S. Vallino, Impaginazione e Composizione, Lupetti, Milano 2000.
E. Bistagnino (a cura di), Disegno-Design. Introduzione alla cultura della rappresentazione, FrancoAngeli, Milano 2010.
P. Polidoro, Che cos'è la semiotica visiva, Carocci, Roma 2008.
D. Barbieri, Guardare e leggere, Carocci, Roma 2001.
D. Baroni, M. Vitta, Storia del Design Grafico, Longanesi, Milano 2003.
Other bibliography will be communicate during lessons.
Office hours: Enrica Bistagnino The office hours will be indicated during the lessons.
ENRICA BISTAGNINO (President)
EUGENIO DI SALLE
ALESSANDRO CASTELLANO (President Substitute)
The exam will consist in the presentation of the projects developed during the Laboratory and in an individual interview aimed at verifying the acquisition of the theoretical-methodological and basic technical knowledge provided during the lessons.
From the project drawings, it will be possible to identify the ability to conceive adequate and effective solutions with respect to the aims posed by the design requirements, as well as the ability to manage the different phases of the design process (concept, development, presentation). From the interview, which will focus mainly on the presentation of the project and, starting from the latter, it will develop references to the topics covered during the lessons, it will be possible to detect the main theoretical-cultural and methodological-technical knowledge at the base of the discipline. In particular, the ability of verbal exhibit, the solidity of the argumentation and the mastery of a specialized language will be taken into account.