Digital Design (BA)

Media Design

Becoming aware of the political dimension of any act of communication by developing a personal practice in visual design and formal information treatment. The first year aims at stimulating invention and experimentation by approaching fundamental notions of meaning construction, image plasticity, design, prioritisation and information ranking. The second year lays emphasis on learning methods of collecting information (documentation, interview, research and selection), content production, the creation of visual systems and the aspects of professional commissions. The third year marks the completion of a cycle by raising questions related to the designer’s responsibility as well as the status of communication in our society. This last year opens up to the research of a personal project in an economic, political and technological context.

Bachelor 1

Professors : collective

Learning Modules :

- Signe, Image, Icône, Glyphes, Emojis, Pictos, No-Logo

- Parler à la machine, terminal

- Signe, Dessin, Dessin graphique

- Formats, Matrice, Grille, Gabarit, Lectures écran, Responsive Design

Bachelor 2 & 3

Professors : Manu Blondiau, Alexia De Visscher, Lionel Maes

During the third year, the media design course evolves into a space of collection creation and research. Students develop working method and reflections on the creation of graphic signs. They learn to develop their knowledge of contemporary graphic design practices in order to further broaden their critical mind. The essential aim is to link a working method, a particular outlook on the world as a designer, the research of a singular graphic grammar and the production of meaningful signs in a particular communicational context.

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Masters

Professor : Harrisson

In an era of overwhelmingly fast, connected media, can we question the ubiquity of visual communication? Shouldn’t visual communication create a critical field in visual communication? Can it have an active antagonist? Moreover, the mere fact of teaching this changing subject raises a real issue. What is the meaning of being a professional in this field? What kind of responsibility does it imply? This raises an issue of transmission. Between entity and identity, what forces operate in the visual structuring? On what scale (individual, organisational)? In what contexts (events, spaces)? The identity of an entity is not an arbitrary construction; it has its own, self-developing existence. It is a complex vehicle containing and reflecting its own ideological conditions, which may moreover challenge itself. The Master starts with an exercise consisting in defining one’s own driving force in order to position oneself in the field of action. Work subjects will be mainly personal and linked to the personal tastes of the students. Professors have to detect, catalyze, and polarize the directions:  - through collective and individual research and working methods  - through practical, theoretical and technical training courses  with the help of external (professionals in the field of the art and communication) and internal (professors, students) actors, their critique and the sharing of their experiences.