Master in Visual Design
: Master's degree.Category
: Visual Arts.Study pace
: Full time.Program length
: 15 months.Location
: Milan.Instruction language
Start Date: October 2017
From identity to editorial design, from information graphics to digital communication: the designer is called on to take care of all the graphic and visual aspects in the communication process. The programme of the Master’s course caters for the complexity of this scenario and allows profound experiences in the various areas of graphic design. The programme develops in an ongoing relation among these disciplines in order to promote a higher level of professionalism and enhance the technical proficiency of the designers. The studio classes draw up the students’ design thinking and their graphic abilities by reproducing the challenging dynamics which are peculiar to the professional practice. Format, layout and composition, typography and visual elements are closely investigated as key elements of the language of the graphic representation. The plan of studies includes advanced training into all the professional tools and up-to-date technologies.
BA Degree or higher (in relevant fields such as Architecture, Design, Visual Arts, etc.)* OR significant work experience in a relevant field (+ High School Diploma) Transcripts (list of subjects + grades)* (graduates only) Portfolio in digital format.
Master’s Degree from IULM and SPD. The Master corresponds to 60 ECTS credits.
Computer Design I, I I.
Technologies supporting graphic communication make tools available for experimenting creative solutions previously simply unthinkable. Softwares such as Photoshop, Illustrator, InDesign have been a real turning point for the work of graphic designers revolutioning their work and allowing more flexibility, beyond the severe compositive schemes of the past. The advent of alternative or unconventional solutions in graphic design has cancelled as a consequence the predetermined association page=bidimensionality enabling the appearance of a different architecture generated by a system of relations between leading players (photo, illustrations, lettering, signs) and their followers. It is therefore necessary to recognize leaders and hierarchies in the relationship between full/empty, dimensions/colour but also value less usual attributes such as transparency and light.
The teaching methodology combines technical, functional and creative with the development of increasingly complex tasks.
Visual Design: History And Critical Views.
The aim of the course is to provide the students with an understanding of the discipline of Visual Design through its development over time and its different application fields. During the historical narration certain elements of design criticism and points for reflection will be put forward in order to encourage the students to reformulate for themselves the themes dealt with on the course. The subject is dealt with chronologically (pointing out the main movements in relation to their historical period) and thematically (putting forward certain specific aspects in a more in-depth way). An important key of interpretation is the development of media and production means in relation to the parallel evolution of Visual Design. Another subject handled is the evolution of the figure of the designer (artist, designer, art director) and their role in the communication process. Some of the topics on the historical path:
–origins and evolution of writing
–origins and evolution of the book
–the 19th Century: lithography and photography revolutionize graphics
–the 20th Century, the avant-garde and the birth of modern design
–modernism in Europe and the United States
–post-modernism and deconstruction
–contemporary graphics trends
Subjects of some of the academic lessons:
–Otto Neurath, Harry Beck and Ladislav Sutnar: birth of information design
–Graphics and music: from Blue Note Records to Stefan Sagmeister
–Graphics criticism/active graphics: alternative movements and communications criticism from the 60s to the new century
–Magazines and type design in the digital world: Emigre and Neville Brody.
Identity Design Laboratory.
The workshop is focused on the theme of Visual Identity. The course has a practical orientation and tackles the design of an identity system on a conceptual, creative and technical level. The work will be developed individually or in pairs and will require the design of a complete set of visual identity elements – symbol, logo and properties of the brand, related applications, colour and typography system. Two different tasks will be assigned over the semester. In both cases the final result will be an organized project for communicating businesses, institutions or events in a clear and distinctive way. Taking advantage of the tutors’ guidance and class critique activities, students will fully develop their own designs through a continuous process of assessment and advancement in order to come to innovative design solutions consistent with the guidelines in the brief.
The brief may be assigned in collaborations with companies and will be announced by the tutors at the beginning of each course or after the preparatory classes.
This course conveys the basics for the correct use of typefaces in graphic design. A definition of typography, its purpose, the fields in which it is applied and all its different possible interpretations will be investigated. Specific attention will be devoted to the shape of the various gliphs and to the usage of typefaces by means of free hand sketches and drawings. Classes will be organized into a theoretical part (hystorical examples and and contemporary case-studies) and several practical exercises to be made individually after class.
During the lectures, the five different levels of typography will be taken into account:
– letters (form, function, typeface classification)
– text (spacing, legibility, composition)
– page layout (grids, text organisation with space consideration)
– sequence (dynamic page flow)
Every topic will be tackled both theoretically and practically; there will also be the chance to boost the information thus acquired through a relevant design practice. Attendance requires a significant amount of work extra classes for assignments and individual study.
This course – made of experts’ lectures and themed workshop – takes a look into both theoretical and practical side of contemporary advertising culture. Nowadays, practices require a reduction in the boundaries between the traditional domains of advertising. Young creative directors need thus to respond with “medium–neutral” ideas. Once there was advertising and below-the-line. Now, the new scenes of advertising communication impose on techniques that have nothing in common with the traditional approach. Advertising is rapidly changing its methodology – from persuasion to penetration – infiltrating everywhere to find new territories and new audiences whereas individuals – notoriously, targets – have learned to criticise, boycott, choose, advise, behave an establish different mutual relations.
It is actually with the relationship, the dialogue, the interchange between brands/products and individuals that the course will try to tune in and bring his own contribution to the debate. It is the young people or worse, the consumers who are less likely to be pouring over a screen but are more than likely to be found sitting in front of a monitor, using the net to connect and keep in contact exchanging ideas and stories. A blog or a group discussion can condition a prospect purchase much more than ads on TV or an a magazine. Advertisers, the ones who have stopped studying, are dangerously trying to intercept the phenomenon by creating a new vocabulary which talks about viral and guerrilla marketing but it is often only the workers’ resistant armoury obstructing the targets from looking in another direction.
The course proposes to teach advertising to young students who could one day become creative directors, bearing in mind, that the fundamentals are always valid because the rules of design luckily never change. There is a new awareness that must be considered. This is an awareness that passes through the net, through consumer associations, through the phenomenon of boycotting, through the movements of no-pubs and towards the way of thinking which is becoming more popular leaving behind the traditional channels of advertising. Advertising today is made up of conversation and experiments. This is what is going on during the classes.
Web Design Tools I, I I.
Monica Mantegazza, Paola Muller
The course will give a basic knowledge of HTML language; afterwards the programme tackles the applications such as Dreamweaver and Fireworks in order to enable students to produce simple websites and multimedia with great communicative impact.
– HTML Language: browsers and main platforms; structure, plan and usability of web applications; structure of a HTML document; TAGs and their functions; adding images and background colours; texts: formatting, alignment, colour and colour changes; hyperlinks.
To boost the technical abilities with the programme, students will be asked to produce their personal website in association with the Visual Communication Studio.
Editorial Design Laboratory.
The course has a practical orientation; the goals is creating sound editorial products as a result of a teamwork activity. On a theorical level the programme deals with the following topics:
-the book as object
-a short book history
-paper formats and marking
-specific characters of the editorial design
-Analysis of some important examples of the historical and contemporary production
Work will be dealt with: brief, project review, internal presentation with the discussion of works and final presentation.
Information Design Laboratory.
Maria Rosaria Di Gregorio
The course is intended to supply students with the equipment to reflect on and confront communication artifacts that are commonly referred to in the field as information design. Particular attention will be given to practice, and discussion. To accompany the elaboration of these preliminary designs, some of the themes addressed are:
1) Information design as a writing system
– sinsemia and relation between writing and space
– notational systems and writing
2) The concept of analogy
3) Levels of iconism of an image and problems relative to various methods of representation
4) information design as a problem solver
– visible variants and various levels of information grouping
– flow charts and models for mapping graphic designs
– some theories about problem solving applied to information design
5) elementary tools in denotative graphics
– elements of cartography (projections)
– elements in graphic applied to statistics
The course has a practical orientation proposing a set of exercises and a final assignment. Considering a theme, it will be analysed, studied and then elaborated graphically. On a weekly base projects are assessed through open presentations. Students’ designs are exchanged in order to test them better. Based on the indications revealed from the test and revisions, designs will be re-worked and refined.
Visual Design Workshop.
The purpose of this one-week intensive workshop taking place at the beginning of the year is to identify each and everyone’s design potential and pinpoint strenghts, weaknesses along with critical abilities to be improved.
Students are asked to devise a catalogue of SPD in the sense of a systematic list of its content items selected according to a peculiar content category chosen by the students themselves. Students will start outlining a peculiar character of the place where they have just arrived and they’ll soon get to know better. Working in pairs they‘ll look for resources (relevant visuals or other information) in the chosen research domain. Contents will have to be arranged according to a specific design language and technique to be identified and proposed by the students.
The final output will consist into a 16 page catalogue featuring selected information within a defined space and format. Its composition will follow a content-based principle, both concept wise and graphic wise.
Colour and printing processes.
– The printing planet: printing technologies as a design element; print industry: organization, market and production types; outline of basic printing processes and procedures; choice of specific printing process in accordance with characteristics and purpose of the design; printing machines: flat-feed and continuous, offset machines, rotoffset etc…
– In-depth study of the most widespread printing processes: offset, rotogravure, silk screen; typographic printing: flexography and relief printing; digital printing; moulding: the traditional method, CtP technology
– paper products and special materials: typologies and features; choice of paper as a creative element; characteristics: weight, thickness, volume, white point; other printing materials: cards, cardboard, PVC and special supports; sheet or bobbin: formats
– Postproduction: varnishing, laminating, embossing, relief printing…; sample analysis
– Binding: types of bind; samples analysis
– Case studies: specific techniques, definition of quantity, format optimization etc.; common mistakes
– Visits to a printing plant during the production: get to know the press and pre-press workflow; sample analysis, costing and quotation problems
Visual Communication: Design Intervention.
The course aims at giving a wider view on the role of the visual designer in contemporary society. Through the discussion of critical issues, the presentation of case studies and individual research, students will be encouraged to choose a field of intervention where they feel their design proposal can make a difference.
The final outcome of the course will be a design project, supported by written documentation of research, theoretical background, and design process.
The workshop focuses on maps and wayfinding systems. Students will deliver a project concerning maps and info-visualization which will be checked weekly through open revisions.
Some of the themes that will be addressed at a theoretical/methodological level during the revisions are: maps and personal geographies; icons and pictograms; wayfinding: case studies and theories.
The purpose of the workshop is to provide students with an intensive experience focussed on complex themes or activities related with processing and interaction design. The workshop is intended to stimulate creative thinking while rounding off the professional approach. It requires the students to acquire the ability to submit a finished result according to the guidelines in the brief and within a very tight timeframe. Activities during the workshop will cover all the phases in the design process, from the concept idea to the final presentation.Scuola Politecnica di Design: About SPD
.60 YEARS of design education in MILAN
SPD Scuola Politecnica di Design is the first postgraduate school for design disciplines in Italy, founded in Milan in 1954. Today, SPD is an international laboratory for exchanging experiences, for developing projects by keeping a balance between function and expression, production and experimentation, thanks to the combination of its Italian roots and a strong international orientation. The young professionals that the school is able to offer to the market and the creative work developed every year are also testimony to this incredibly rewarding dialogue with companies, manufacturers and the various actors along the design chain. The Master’s courses offered by SPD are organised in collaboration with IULM University and award academic degree certificates recognised by the Italian Ministry of Education, University and Research MIUR and the relevant credits under the ECTS system.