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“Graphic design – experimental practices and critiques” looks at graphic design as a tool for analysis, reflection and investigation within a complex world. The aim is to encourage movements, and not to confirm facts.
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==== Bachelor 1====
By encouraging the student to take into consideration the challenges of our society – political, environmental, social or cultural – graphic design can be a food for thought as well as a way of thinking. The graphic designer becomes an actor rather than an author.
 
Students are invited to take a critical, personal stance through the means particular to graphic design – image, graphic illustration, sign, typography, layout, spacing. Graphic design aims at assimilation. Choices, questioning, tool creation and the medium are developed in line with the project.
 
Rather than aiming at providing an answer to a definite question, this approach seeks to explore different creative processes. Research and singular approaches are favoured through trial and error in conditions similar to that of a laboratory where process is paramount.
 
Students are encouraged to open up to other fields, experiments and skills in order to build a corpus of transversal references (art, design, cinema, sound, dance, architecture, sciences, cooking, etc.) that enable them to enrich their practice of graphic design.
 
  
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Teachers: [[Harrisson]], [[Sabine Voglaire]]
  
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The approach of the course is characterized more by the exploration of different creative processes rather than aiming for the outcome of an answer to a given question. Raise awareness of image work, graphic illustration, sign, typography, spatial layout, sound. The course develops the notion of collaboration which is essential to any graphic work. Contribution of heterogeneous, graphic and transversal references, shared in different forms.
  
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During the first semester, the course proposes to experiment, through multiple actions and reactions, mechanisms of construction and deconstruction specific to the emergence of any graphic work. We manipulate the components of the graphic vocabulary while visually and physically evaluating notions such as distancing, readability threshold, impact, interaction. We consider the visual and sound landscape as a palette of graphic possibilities of sampling and exploitation. The work of a wide range of authors and researchers of all types is presented and analyzed collectively to extract, among other things, multiple creative processes. A collaborative project is developed during the second term internally or externally to the school, to identify its resources and exploit the notions of partnership and complementarity.
  
'''Bachelor 1'''
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Collective and individual practices. Implementation and development of a methodology of experimentation and research in the way of approaching graphic work. Understanding constraints as dynamic elements of formal and conceptual construction and deconstruction. Experiencing the diversity of processes and influences in the practice of graphic design today. Open up research to new forms of individual and collective production.
  
Professor(s): collective
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==== main course objectives (B1) ====
  
Learning Modules :
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- Think and work with graphic design, not only as a way of transmitting forms, but also as a subject to think about and a way of thinking.
  
- [[Signe, Image, Icône, Glyphes, Emojis, Pictos, No-Logo]]
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- To see this practice as an exceptionally broad and generous playground
 
   
 
   
Professors : [[Laurent Baudoux]], [[Alain Goffin]]
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- Discover and practice processes of deconstruction and construction within this framework
  
- [[Parler à la machine]]
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- Activate new resources by manipulating still and moving images, typography, signs, sound, graphic objects, etc.
  
Professors : [[Damien Safie]], [[Wendy Van Wynsberghe]]
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- Develop the notion of point of view and appropriation by revealing interests and concerns
  
- [[Signe, Dessin, Dessin graphique]]
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====Modules====
  
Professors : [[Laurent Baudoux]], [[Sabine Voglaire]]
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During the first semester, the student chooses his/her Orientation ([[Digital Design (BA)]], [[Graphic Design (BA)]], [[Typography (BA)]]) at which he/she adds a module of their choice from their Orientation or one of the two other Orientations of the Media Pole. The educational advantage of these Modules accessible to both B2 and B3 students is that they ensure verticality. The two elements (3h Orientation and 3h Module) together create the 6h Orientation.
  
- [[Formats, canons, gaufriers, en marge super max-width!]]
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→ Example: A student in Typographic Design can therefore decide to choose the Module linked to his Orientation (Module oriented Typographic Design) or choose to take a Module rather tinted Graphic Design or Digital Design.
  
Professors : [[Giampiero Caiti]], [[Ludivine Loiseau]]
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In the second term, the Modules give way to Orientation.
  
'''Bachelor 2'''
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====Graphic Design oriented modules====
  
Professor(s): [[Caroline Dath]], [[Giovanni Guarini]], [[Isabelle Jossa]]
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°[[Modular drawing]]
  
The workshop focuses especially on creating a proficient articulation between the eye, the hand and the brain to serve a relevant and efficient communication. It explores:
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°[[NO-LOGO]]
 Image (in all its aspects) as such and its relation with the text.
 
 Letter drawing, typography, layout and its attending vocabulary.
 
 Communication through drawing and research of a singular writing.
 
 Meaning, concept.
 
 Installation, on-site graphic performance.
 
 Team work.
 
Discussions and workshops are organised according to opportunities. Throughout the year, references and open documents outside of the field of graphic design are presented. Students can also read a blog written by professors.
 
  
'''Bachelor 3'''
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====Bachelor 2 ====
  
Professor(s): [[Manuela Dechamps Otamendi]], [[Giovanni Guarini]]
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Teacher : [[Isabelle Jossa]]
  
Graphic designer are signs, images, words and meanings researchers. They produce drawings, photographs, and typographies. Playing with visual tools, they develop projects. They create books, magazines, posters, wallpapers, sites, animations, signage, situated interventions, etc. These images are intended to be read, looked at, and listened to by the public.
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https://www.instagram.com/erg_graphisme_bac2_3/
The projects developed in the workshop are intended as a discussion on graphic design, its process and the society in which they are used. Students are invited to create an autonomous graphic object, a personal “proposal”.
 
  
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In Bachelor 2, the main aim of the workshop is to encourage students to engage in reflection and develop a point of view through experimentation. Using analog and/or digital tools, the work proposals enable students to continue learning the fundamentals of graphic design: making and appropriating images and signs, working with color and form, composition, the text/image relationship, editorial work, space-related research, the development of singular forms of writing, collaborative projects and more. What's more, these proposals directly or indirectly raise the question of what it means to be a graphic designer today. For while we sometimes work on a concrete request (a poster, a publication, participation in a competition), we need to ask ourselves how this request leads to a proposal in which the standard supports and contents constitute a space for questioning and research rather than a simple communication medium.
  
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==== Bachelor 3 ====
  
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Teacher : [[Giovanni Guarini]]
  
'''Masters'''
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https://www.instagram.com/erg_graphisme_bac2_3/
  
Professor : [[Françoise Tahon]]
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In Bachelor 3, the practice of graphic design will take a critical look at both tools and support (medium) and the way in which our society is viewed (content). Graphic design as a practice linked to the development of social, cultural, ecological, economic, scientific or political themes. As actors rather than authors, graphic designers play an active, collaborative role in the world in which they evolve. Reacting to what touches us, revolts us, enthuses us, moves us, and taking a singular look, whether humorous, ironic, poetic, utopian, cynical, realistic or provocative. Students will be expected to produce relevant, concrete and autonomous graphic work, i.e. "editable" in the broadest sense of the term, whether it's a book, an image, a text to be displayed or a graphic object to be installed... But also to engage fully in a generous practice where the notions of pleasure and passion are present.
 
 
The Masters in graphic design offers to reflect, together with students and people from the school and outside it, about the way in which one becomes an essential actor in the design and creation of artistic and communication projects [graphic design]. The course looks at graphic design as an analytical, reflection and investigation tool in a complex world.
 
The central educational tool of the course is the book, its derivatives and its future.
 
The image is shaped for its documentary and illustrative potential or as a central element of the project.
 
The text is analyzed from an editorial point of view, the issue of meaning, and through typography, the issue context and form in relation to the content.
 
The task is then to either provide a point of view on a specific question, to communicate the discovered artistic universe, to share ideas, or to transpose a method in one’s own practice.
 
Short presentations and/or exercises look at essential points in a contemporary practice of graphic design, notably the role of technological changes in the professional development of graphic designers.
 
 
 
 
 
[[Catégorie:English]]
 

Version actuelle datée du 5 juin 2023 à 11:38

Bachelor 1

Teachers: Harrisson, Sabine Voglaire

The approach of the course is characterized more by the exploration of different creative processes rather than aiming for the outcome of an answer to a given question. Raise awareness of image work, graphic illustration, sign, typography, spatial layout, sound. The course develops the notion of collaboration which is essential to any graphic work. Contribution of heterogeneous, graphic and transversal references, shared in different forms.

During the first semester, the course proposes to experiment, through multiple actions and reactions, mechanisms of construction and deconstruction specific to the emergence of any graphic work. We manipulate the components of the graphic vocabulary while visually and physically evaluating notions such as distancing, readability threshold, impact, interaction. We consider the visual and sound landscape as a palette of graphic possibilities of sampling and exploitation. The work of a wide range of authors and researchers of all types is presented and analyzed collectively to extract, among other things, multiple creative processes. A collaborative project is developed during the second term internally or externally to the school, to identify its resources and exploit the notions of partnership and complementarity.

Collective and individual practices. Implementation and development of a methodology of experimentation and research in the way of approaching graphic work. Understanding constraints as dynamic elements of formal and conceptual construction and deconstruction. Experiencing the diversity of processes and influences in the practice of graphic design today. Open up research to new forms of individual and collective production.

main course objectives (B1)

- Think and work with graphic design, not only as a way of transmitting forms, but also as a subject to think about and a way of thinking.

- To see this practice as an exceptionally broad and generous playground

- Discover and practice processes of deconstruction and construction within this framework

- Activate new resources by manipulating still and moving images, typography, signs, sound, graphic objects, etc.

- Develop the notion of point of view and appropriation by revealing interests and concerns

Modules

During the first semester, the student chooses his/her Orientation (Digital Design (BA), Graphic Design (BA), Typography (BA)) at which he/she adds a module of their choice from their Orientation or one of the two other Orientations of the Media Pole. The educational advantage of these Modules accessible to both B2 and B3 students is that they ensure verticality. The two elements (3h Orientation and 3h Module) together create the 6h Orientation.

→ Example: A student in Typographic Design can therefore decide to choose the Module linked to his Orientation (Module oriented Typographic Design) or choose to take a Module rather tinted Graphic Design or Digital Design.

In the second term, the Modules give way to Orientation.

Graphic Design oriented modules

°Modular drawing

°NO-LOGO

Bachelor 2

Teacher : Isabelle Jossa

https://www.instagram.com/erg_graphisme_bac2_3/

In Bachelor 2, the main aim of the workshop is to encourage students to engage in reflection and develop a point of view through experimentation. Using analog and/or digital tools, the work proposals enable students to continue learning the fundamentals of graphic design: making and appropriating images and signs, working with color and form, composition, the text/image relationship, editorial work, space-related research, the development of singular forms of writing, collaborative projects and more. What's more, these proposals directly or indirectly raise the question of what it means to be a graphic designer today. For while we sometimes work on a concrete request (a poster, a publication, participation in a competition), we need to ask ourselves how this request leads to a proposal in which the standard supports and contents constitute a space for questioning and research rather than a simple communication medium.

Bachelor 3

Teacher : Giovanni Guarini

https://www.instagram.com/erg_graphisme_bac2_3/

In Bachelor 3, the practice of graphic design will take a critical look at both tools and support (medium) and the way in which our society is viewed (content). Graphic design as a practice linked to the development of social, cultural, ecological, economic, scientific or political themes. As actors rather than authors, graphic designers play an active, collaborative role in the world in which they evolve. Reacting to what touches us, revolts us, enthuses us, moves us, and taking a singular look, whether humorous, ironic, poetic, utopian, cynical, realistic or provocative. Students will be expected to produce relevant, concrete and autonomous graphic work, i.e. "editable" in the broadest sense of the term, whether it's a book, an image, a text to be displayed or a graphic object to be installed... But also to engage fully in a generous practice where the notions of pleasure and passion are present.