60
Design
REGGIO DI CALABRIA
Overview
Date/time interval
Syllabus
Course Objectives
In order to achieve the expected results for the course program and the proposed experimentation, the educational offer divided into different activities pursues the following
- Qualifying educational objectives:
The course is designed to provide the critical and operational foundations for a conscious development of an approach to visual culture as a design activity in itself, a synthesis of technique and creativity.
Students will deepen their ability to interpret phenomena and techniques in their historical evolution, through the use of basic methodological tools, with specific reference to Design themes, but with a broader and more articulated vision.
- Specific learning objectives (with reference to the course/workshop topic):
Students will also acquire knowledge of the elements of graphic representation and multimedia through theoretical and practical seminars on key topics developed in connection with the use of the most popular software, with particular attention to professional systems.
Course Prerequisites
To successfully complete the course, knowledge of drawing and basic geometry is required.
Teaching Methods
COURSE STRUCTURE AND TEACHING
- Lectures: (hours/year in classroom): 23 hours
- Exercises: (hours/year in classroom): 25 hours of exercises with teacher guidance
- Practical activities: (hours/year in classroom): 12 hours of laboratory work with teacher guidance
AUTONOMOUS LEARNING OF THE STUDENT
- In-depth study/study of the bibliography (theoretical part) 15 hours
- Test preparation (experimental) 50 hours
- Exam preparation 25 hours
Assessment Methods
The course, conceived as a theoretical/practical/application laboratory, will attempt to carry out the majority of the teaching load in the laboratory. For this reason, short theoretical lessons will be alternated with classroom work sessions, designed to ensure continuous and fruitful interaction with the teaching staff. Finally, in the second part of the course, the hours dedicated to reviewing intermediate papers will be increased with the specific aim of completing the final papers by the start of the first exam sessions.
Finally, a final WORKSHOP is planned to fine-tune the final installation to be carried out during the week of December 9-12.
Exam format: Practical
Evaluation criteria
30–30 with honors: creation of a prototype, whether a three-dimensional model or a cube, that provides a comprehensive overview of the topics covered; appropriately situating them within their historical and cultural context, demonstrating methodical approach and independent critical thinking, and employing a rich and specific vocabulary. A focused and comprehensive project, executed with effective synthesis and critical insights.
26–29: Creation of a prototype, whether a three-dimensional model or a cube, able to demonstrate knowledge that goes beyond mere memorization; strong analytical and synthesis skills, with appropriate methodological organization and historical-cultural contextualization, using appropriate language and terminology. A final project, developed through synthesis and personal reinterpretation.
22–25: Creation of a prototype, whether a three-dimensional structure or a cube, that demonstrates essential, though sufficient, historical and cultural knowledge and contextualization; critical analysis and synthesis that are not fully developed but are essentially methodologically correct; partially appropriate language and use of essential terminology. A project that meets most of the requirements with a personal interpretation.
18–21: Creation of a prototype, whether a three-dimensional structure or a cube, that demonstrates a partial but sufficient understanding of the topics; a disorganized methodological approach. A project that only partially meets the requirements, with limited personal input.
Insufficient: the work does not meet the requirements.
Texts
Reference bibliography
1 . Arnheim, R., Arte e percezione visiva. Italian edition. Feltrinelli Editore, Milano (1997)
2 . McCloud, S., Capire il fumetto. L’arte invisibile. Pavesio, Torino (2006).
3 . Munari, B., Design e comunicazione visiva. Edizioni Laterza, Bari (1994).
Contents
DESCRIPTION
At the beginning of the course, the teacher will divide the students into working groups and assign them a designer's chair, providing the theoretical material necessary to deepen their knowledge of the artifact. The student will then be responsible for preparing a final installation consisting of six 20 cm square tiles, drawn on both sides. The 12 parts that make up the artifact (6x2 faces) must initially form a closed three-dimensional cube.
COURSE PROGRAMME
The course will be divided into two fundamental phases, each divided into two different moments: one cognitive and one applicative.
The introductory phase includes the presentation of the course's contents and objectives. This will be followed by intensive laboratory work aimed at acquiring the IT skills necessary to design the 3D models and 2D drawings to be included in the final communication project.
The application phase involves the design and construction of a three-dimensional cube, an interactive multimedia installation designed to illustrate the topic assigned by the teacher. This laboratory activity will be appropriately combined with the organization of seminars whose aim will be to enrich the knowledge necessary to carry out the assigned task. Exercising creativity (in designing the communication artifact) and analytical methods (in defining the elements necessary to describe the chair) are objectives to be pursued in addition, obviously, to the acquisition of basic and advanced IT skills useful for refining one's professional path.
EXPECTED RESULTS
Knowledge and understanding;
The terms digital drawing and three-dimensional modeling summarize the path and products of representation oriented towards visual communication. The course aims to provide the critical and operational foundations for a conscious development of an approach to visual culture as a design activity in itself, a synthesis of technique and creativity.
Applying knowledge and understanding;
Students will acquire knowledge of the elements of digital design and multimedia representation through theoretical and practical seminars on the main topics developed in connection with the use of the most popular software, with particular attention to professional systems.
Making judgments;
Students will also acquire theoretical knowledge relating to the fundamental elements of the history of visual culture - notes on the psychology of visual perception, notes on the practice of drawing, notes on the principles of multimedia representation - and the skills to transfer what they have learned into a personal communication project.
Communication skills;
Students will deepen their ability to interpret phenomena and techniques in their historical evolution, through the use of basic methodological tools, with specific reference to Design themes, but with a broader and more articulated vision.
Learning skills.
Undoubtedly, what has been described above will allow each individual student to continue studying independently even after the course has concluded, also through specific cultural insights, including on the recommended texts.
More information
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