Audiovisual Design Projects II

Teaching staff

Cecília Gorriz

Cecília Gorriz

Graphic, multimedia and audiovisual designer. Online/Offline Communication advisor.

Graduate in Audiovisual Design. Master’s Degree in Graphic Design and Digital Publications. Educated in graphic, digital and audiovisual design, and also strategic communication. She develops and coordinates online/offline projects. Lecturer with 7 years’ experience teaching in design schools around Barcelona.

Fact sheet

Formal qualifications: Bachelor's Degree in Design

Credits: 6

Semester: 1

Course: Third

Typology: Elective Audiovisual Design

Code subject: GDVA83

INTRODUCTION

This semester, students will develop their skills at adopting a critical stance, by means of the different methodologies, that will help them in facing conflict and innovative situations, challenges, etc. During the semester, students will develop these skills to consolidate the objectives set in the first term:

  • 1. They will have to develop design projects based on different thematic proposals from their own point of view while taking into account the context or their environment.
  • 2. They must apply the specific knowledge acquired during the first term regarding the framework of the audiovisual education itinerary when developing various projects.

 

Introduction

Internet and new technologies represent are a frenetic evolution when it comes to communication. In recent years, new media and channels have emerged, ultimately creating new forms of audiovisual consumption that have led to the evolution of content.

We can say that we are engaged in a review of the communication models, as Marshall McLuhan said ‘The medium is the message.’

Interaction has grown, expanded; the viewer is now the user that participates, chooses, creates and manipulates content freely. This paradigm shift in communication has created new scenarios and possibilities, but has led also to re-think of well-established models.

Seduction mechanisms have evolved into something more transparent and accurate. Thus, products, services or culture (actually, any content, whatever its nature), are intended to be lived, felt and experienced.

‘Anyone who tries to make a distinction between education and entertainment does not know the first thing about either’, Marshall McLuhan.

On the other hand, when we think from a traditional discipline such as the graphic design, we identify the transition from paper to screen. It is about a migration of the static message to the audiovisual support, either linear or non-linear. This is how the figure of the audiovisual designer is born. Moreover, with the advent of multi-touch supports and presence detectors, the interaction has evolved from the ‘click’ to the gesture. Immersive projections, interactive mappings, the design that had already transferred from paper to the screen… they all now migrate from the screen to space. The territory of audiovisual communication expands. The proliferation of some terms such as user centered design, UI / UX, user interface / user experience is not surprising. Undoubtedly, the protagonist is no longer the viewer but the user.

Therefore, we face a big challenge: technology has made great strides but the creation of content is still trying to take advantage of the opportunities. Culture, education or entertainment, no matter where, are now focused on the users, and we put forward new messages, solutions or products; but above all, we create experiences.

‘Everybody experiences far more than he understands. Yet it is experience, rather than understanding, that influences behaviour’, Marshall McLuhan.

 

CONTENTS

Audiovisual design projects:

  • Presentation of the subject: The market and universal design.
  • Detection of potential problems or opportunities related to the topics discussed that can be solved through design proposals.
  • Selection of the appropriate research methodologies in order to breakdown the boundaries of the problem.
  • Implementation of a method to provide creative solutions for solving the initial audiovisual design problem.
  • Development of audiovisual design projects.

Specific content from the field of visual design:

Proposal for audiovisual comunication

The purpose of visual design is to communicate through different audiovisual media. Within this framework, students will work on conveying concepts, values and emotions that connect with the target audience:

  • Definition of the message: ‘what do we mean?’
  • Definition of the target: ‘who do we target?’
  • Definition of the creative hub: ‘how to secure their attention?’
  • Definition of the communication strategy: ‘means to connect to the target.’

Execution and development

Once the message, target, creative hub and communication strategy are defined, the students will work on selecting and developing design solutions and reflect on the nature of audiovisual language and the possibilities offered by the medium.

  • Selection of solution / format.
  • Interactive audiovisual proposal.
  • Pre-production (script / wireframe / storyboard / animatic).
  • Graphic and audiovisual production.

 

LEARNING OUTCOMES

  • Students apply the appropriate type of research to the design process.
  • Proper selection and application of the different project design processes (inductive, comparative, scientific and/or speculative processes), depending on the audiovisual design project under development.
  • Raises communication strategies with the language specific to new media and formats.
  • They make audiovisual design proposals by empowering the figure of the participatory user.
  • They apply their specific knowledge on experiential communication to audiovisual design projects.
  • Proper use of the pre-production, production and post-production resources specific to the new media and supports.
  • They collect and interpret relevant data and information on which to base, when necessary and appropriate, reflections on social, scientific or ethical issues from the field of design.
  • They define their own learning objectives and design development processes that are realistic and consistent with the objectives set and time available.

 

SPECIFIC SKILLS

  • SS1. Critical analysis and evaluation of the consequences and implications of proposals raised in design projects, both the student’s own and those of others, and their adjustment to suit the social, economic, political and cultural context.
  • SS2. Integration of knowledge and approaches related to cultural, artistic and historical references in design, to practical design projects in creative and innovative ways.
  • SS3. The ability to conceptualise and experiment with suggestions for design projects, and approach them with a proactive and problem solving attitude that will facilitate decisive solutions to real or potential problems, all the while taking into account the integration of cultural, artistic and instrumental approaches.
  • SS4. Apply appropriate methodologies and varied research according to the subject matter, both for knowledge management and for formal experimentation and production that meets academic and professional standards.
  • SS5. Excellent command of languages of expression, graphic representation techniques, digital imaging tools, and formal and manual production techniques specific to different fields of design, thereby enabling their consistent application in the experimentation, development, execution and presentation processes inherent to professional projects.
  • SS7. Consider the properties and behaviour of the materials used in the different fields of design, in order to use them at the professional level in their own productions with aesthetic sensitivity and social and environmental responsibility.
  • SS8. Mastering the use of aesthetic and symbolic codes of communication, as well as specific design languages, to adapt the communicative intention of any given project to the vision of the user.
  • SS9. Implementation of design projects which provide alternative solutions and propose improvements based on functionality and viability. These solutions and improvements must also be able to respond to problems or changing situations in advance, through the development of a formal production at a professional level.
  • SS10. Effective contribution to cooperation and collaboration structures for the development of action plans with the capacity to adapt to the varied working methods of different creative teams.

 

EVALUATION

  • Observation of participation.
  • Monitoring of the work produced.
  • Reports from students and tutors.
  • Realisation of works or projects.