SYLLABUS

Theoretical module

The aim of the course is to enhance design perception. The history of written communication developed from petroglyphs, pictograms, ideograms and phonetic scripts, to isotypes, modern signs (icons, symbols, index) and Olympic pictograms, is presented with emphasis on decoding the design rules under which they were constructed. Also study successful examples, interpret the design parameters and reveal the concepts behind.

Students complete a case study of 1000 words, on themes of the theory such as infographics, isotypes. etc, based on given bibliography.

Workshop module

During the workshops students expreriment on abstract visualization, stylization techniques, composition of graphic elements (text, image, symbols) and structure and hierarchy on the design space. They work on 3 projects for 4-5 weeks each and they create one poster, a series of post-stamps and an infographic card, individually and in teams. Starting from research upon the theme and aesthetics, they implement their ideas in rough layouts, presenting their progress weekly, followed by critical analysis and feedback. A complete, coherent presentation is required by the end of each project.

ATTACHED BIBLIOGRAPHY

Greek sources

1. Χατζηθεοδώρου, B. 2019, Ολυμπιακά Εικονογράμματα, Σχεδιασμός & Σημειολογία, Αθήνα: Ευρασία, 2η εκ. (Εύδοξος)

2. Βerger, J. 2011, H εικόνα και το βλέμμα, Αθήνα: Μεταίχμιο

3. Ιλίν, Μ. 2012, Η Ιστορία του Βιβλίου, Αθήνα: Όμιλος Εκπαιδευτικού Προβληματισμού

4. Escher, M.C. 2004, The Graphic Work, Mτφρ. Φεδά Μ. – Σπανόπουλος Μ, Αθήνα: Ειδική Έκδοση Μουσείο Ηρακλειδών

5. Gruber, M. Tintner, P. Flood, M. 1996, Signs of the times: the history of writing, VHS video, Falls Church, VA: Landmark Media (Vouli Television)

International sources

1. Baldwin, J. Roberts, L. 2006, Visual Communication – from Theory to Practice, Lausanne: AVA Publishing

2. Clarke, M. 2007, Verbalizing the Visual, – Translating Art & Design into Words, AVA Publishing

3. Crow, D. 2010, Visible Signs – an Introduction to Semiotics in the Visual Arts, Lausanne: AVA Publishing

4. Grear, M. 2006, Inside – Outside: From the Basics to the Practice of Design, New York: AIGA and New Riders

5. Hyndman, S. 2016, Why fonts matter, Berkeley: Gingo Press

6. Fletcher, A. 2001, The art of looking sideways, Phaidon Press

7. Frutiger A. 1989, Signs and Symbols, London: Studio Editions

8. Heller, S. 1999, Paul Rand, Phaidon Press

9. Landa, R. 2000, Graphic Design Solutions, Florence: On Word Press

10. Leborg, C. 2006, Visual Grammar, New York: Princeton Architectural Press

11. Manovich, L. 2001, The Language of New Media, Cambridge: MIT Press

12. Meggs, P. 1992, Type and Image: The language of Graphic Design, John Wiley & Sons

13. Mouron, H. Α.Μ. 1985, Cassandre, Rizzoli

14. Resnick, E. 2003, Design for Communication: Conceptual Graphic Design Basics, New York: Wiley

15. Samara, T. 2002, Making and Breaking the Grid: A Graphic Design Layout Workshop, Gloucester: Rockport Publishers

MODULE CONTENT