Art Direction
Code: 103145 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2501935 Advertising and Public Relations | OT | 4 | 2 |
Contact
- Name:
- Ana I. Entenza Rodriguez
- Email:
- annaisabel.entenza@uab.cat
Use of Languages
- Principal working language:
- catalan (cat)
- Some groups entirely in English:
- No
- Some groups entirely in Catalan:
- Yes
- Some groups entirely in Spanish:
- No
Prerequisites
nd design software (Indesign, Illustrator, Photoshop or similar) is required. In this sense, this subject is linked to the knowledge acquired in "Design in Advertising and Public Relations" in a specific way and, more generally, to the different subjects of the Matter of Creativity. It is also linked, to the extent that it is complementary, to the subject of Third Project "Creativity in Advertising and Public Relations". Having passed the previous subjects in an adequate manner, ensures the training in Art Direction.
Objectives and Contextualisation
Overall objective Develop creative strategies in graphic media for the creation of advertising messages. This general objective is specified so that, at the end of the subject, the student will be able to (specific objectives): a. Demonstrate the skills and knowledge necessary to graphically develop advertising ideas with maximum efficiency and effectiveness. b. Demonstrate the maximum knowledge of the elements that are considered proper of art direction, and advertising graphic design, to use them in a technically correct, effective and efficient manner. c. Demonstrate knowledge and analyse trends and trends in graphic design and advertising communication, which mark the main lines of current advertising. d. Demonstrate solvency in the structuring of advertising messages, from a formal perspective, experimenting with the construction of visual and audiovisual graphic pieces.
Competences
- Demonstrate knowledge of photographic composition theories.
- Demonstrate knowledge of the structure and functions of the technological context that plays a role in the advertising communication process.
- Introduce changes in the methods and processes of the field of knowledge to provide innovative responses to the needs and demands of society.
- Students can apply the knowledge to their own work or vocation in a professional manner and have the powers generally demonstrated by preparing and defending arguments and solving problems within their area of study.
- Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
- Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.
- Take account of social, economic and environmental impacts when operating within one's own area of knowledge.
- Take sex- or gender-based inequalities into consideration when operating within one's own area of knowledge.
- Use different theories and techniques in the graphic composition of texts.
- Use one's imagination with flexibility, originality and ease.
Learning Outcomes
- Analyse a situation and identify its points for improvement.
- Analyse the sex- or gender-based inequalities and the gender biases present in one's own area of knowledge.
- Classify aesthetic theories and techniques that play a role in advertising's graphic design and art management.
- Communicate using language that is not sexist or discriminatory.
- Consider how gender stereotypes and roles impinge on the exercise of the profession.
- Critically analyse the principles, values and procedures that govern the exercise of the profession.
- Explain the explicit or implicit code of practice of one's own area of knowledge.
- Identify situations in which a change or improvement is needed.
- Identify the most significant features of the advertising photography tradition.
- Identify the social, economic and environmental implications of academic and professional activities within one's own area of knowledge.
- Propose new methods or well-founded alternative solutions.
- Propose new ways to measure the success or failure of the implementation of innovative proposals or ideas.
- Propose projects and actions that incorporate the gender perspective.
- Propose viable projects and actions to boost social, economic and environmental benefits.
- Students can apply the knowledge to their own work or vocation in a professional manner and have the powers generally demonstrated by preparing and defending arguments and solving problems within their area of study.
- Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
- Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.
- Use one's imagination with flexibility, originality and ease.
- Use technological instruments for the composition and editing of graphic messages.
- Use the framing, exposure and editing techniques characteristic of photography.
- Weigh up the impact of any long- or short-term difficulty, harm or discrimination that could be caused to certain persons or groups by the actions or projects.
- Weigh up the risks and opportunities of both one's own and other people's proposals for improvement.
Content
Theme 1
Foundation of the AD
Professional profile of the AD
Academic context of the AD
Competencies of the AD
Theme 2
Theorization of the AD
Briefing 360
Conceptualization
Visual communication
Visual Apple and Visual Attract
Visual Code
Visual Rhetoric
Symbolic Representation
Theme 3
Methodology of the AD
Trends and Styles
Creativity, Communication and Aesthetics
Design Thinking, Process and Management
Representation and Production Media
Evaluation and Validation
Methodology
The subject has 45% of face-to-face and 55% of autonomous work.
The face-to-face part of the subject has three basic parts: Theory, Seminars and Practices. The Theory part represents 10% of the learning time, the Seminars part 10% and the Practices part the remaining 15%.
Theory: Based on the theoretical explanations in class, the study of the proposed bibliography and the personal study on the object. CE5, CE6, CE11
Seminars: Based on the work of the student - in group or individual - and the teacher's guide to solve problems of the subjecte matter. CE10, CT3
Practices: Based on the realization of specific exercises or activities that allow working the skills of the subject. CE10, CE11, CE14, CE23
The subject also includes 5% personalized tutoring (CE10, CE11, CE23), individual student work (self-employment) 55% (CE5, CE6, CE11) and evaluation 5% (CE5, CE6, CE10, CE11) complete the total of 150 hours of learning (6 credits).
The teaching staff should allocate approximately 15 minutes of a class to allow their students to answer the evaluation surveys of the teaching performance and the evaluation of the subject or module.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Activities
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Seminars | 15 | 0.6 | |
| Theory | 15 | 0.6 | 18 |
| Works | 22.5 | 0.9 | 19 |
| Type: Supervised | |||
| Tutorials | 7.5 | 0.3 | |
| Type: Autonomous | |||
| Works | 82.5 | 3.3 | 19 |
Assessment
The subject consists of the evaluation activities: A. Written tests (2), where it will be necessary to gather and interpret data, transmit information, classify the aesthetic and technical theories involved in art direction (20% of the grade of the subject):
1. Art direction 10% in the final grade
2. Art dossier 10% in the final grade
B. different pieces (7) where it will be necessary to demonstrate the knowledge, skills and attitudes in the realization of concrete activities (80% of the note of the asignatura). They are indicated in the Evaluation Activitast box and are:
1. White and black 10% in the final grade
2. Colour 15% in the final grade
3. Shape 10% in the final grade
4. Declensions 10% in the final grade
5. 360 10% in the final grade
6. Campaign 15% in the final grade
7. Defending 10% in the final grade
To facilitate the monitoring and evaluation of the student, the following documents are accessible in the virtual campus of the subject:
1. Schedule (details of teaching activities, place, deliveries, etc.)
2. Student folder index (where all activities, delivery dates, weighting, etc.) are listed.
3. File of each of the activities. (description of the activity and the rubric of its evaluation)
4. Guide of the subject (with the details to facilitate the student's learning)
Recovery process
Students will be entitled to the recovery of the subject if it has been evaluated the set of activities the weight of which equates to a minimum of 2/3 parts of the total grade of the subject.
This recovery will consist of submitting the works for reassessment purposes, either with the minimum conditions established to overcome the pending activities, or with a substantial improvement of the materials, in the case of wanting to improve the final grade.
Student not evaluated
It will be considered that the students can not be evaluated when some of these circumstances concur:
- When a minimum of 2/3 of the total evaluable activities have not been carried out.
- When the deliveries of the works are not carried out according to the schedule of the subject andthe indications of the teaching staff.
- When the teacher detects signs of copying or plagiarism in the activities.
Second Registration
In case of second registration of the students may perform a single synthesis test that will consist of making the delivery, activities / rubrics that had not been exceeded during the previous year.
The qualification of the subject corresponds to the qualification of the synthesis test
Plagiarism
The student who makes any irregularity (copy, plagiarism, identity theft, ...) that can lead to a significant variation of the rating of an act of evaluation, will be rated with 0 this act of evaluation. In case of several irregularities, the final grade of the subject will be 0.
Programming of the subject
The detailed calendar with the content of the different sessions willbe presented on the day of presentation of the subject. It will also be posted on the Virtual Campus where students can find a detailed description of the exercises and practices, the various teaching materials and any information necessary for the proper monitoring of the subject.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| 1. White and black | 10 | 1 | 0.04 | 2, 18, 4, 9, 10, 13, 14, 16, 19, 20, 5 |
| 2. Colour | 15 | 1 | 0.04 | 2, 18, 4, 9, 10, 13, 14, 16, 19, 20, 5 |
| 3. Shape | 10 | 1 | 0.04 | 2, 18, 4, 10, 13, 14, 16, 19, 5 |
| 4. Declensions | 10 | 1 | 0.04 | 1, 18, 9, 8, 11, 15, 19, 20 |
| 5. 360 | 10 | 0.5 | 0.02 | 2, 18, 10, 13, 14, 16, 19, 5 |
| 6. Art direction | 10 | 0.5 | 0.02 | 3, 4, 17, 16 |
| 7. Art dossier | 10 | 0.5 | 0.02 | 18, 3, 4, 17, 16 |
| 8. Campaign | 15 | 1 | 0.04 | 6, 2, 1, 18, 4, 7, 10, 8, 22, 11, 12, 13, 14, 17, 15, 16, 19, 5, 21 |
| 9. Defending | 10 | 1 | 0.04 | 6, 1, 18, 7, 8, 22, 11, 12, 17, 15, 16, 21 |
Bibliography
Barry Pete (2008). The advertising concep Book. Thames & Hudson London.
Blackwel, Lewis (1992) La Tipografía del siglo XX. GG. Barcelona
Berzbach, Frank (2013) Psicología para creativos. Gustavo Gili. Barcelona
Bhaskaran, Lakshmi (2007). El diseño en el tiempo. Blume. Barcelona
Burtenshaw, Ken/ Mahon, Nik / Barfoot, Caroline (2007) Principios de publicidad. GG. Barcelona.
Cesar Newton. (2002) Direçao de arte. Editorial Futura. Brasil
Contreras Fernando R. /San Nicolás Romera, César (2001) Diseño gráfico, creatividad y comunicación. Ediciones Blur.
Landa, Robin (2011). Diseño gráfico y publicidad. Anaya, Madrid
Mazzeo, Cecilia. Diseño y sistema : bajo la punta del iceberg. BUENOS AIRES, Ediciones Infinito, 2017 https://ebookcentral-proquest-com.are.uab.cat/lib/uab/reader.action?docID=4870584
Philips Peter L. (2004) Cómo crear el brief de diseño perfecto. Divone Eggs Publicicaciones. Barcelona
Puente Balsells, Ma Luz ; Francisco Viñals Carrera. Grafología digital, tipográfica y del diseño visual. Barcelona : Editorial UOC, abril 2019 https://cataleg.uab.cat/iii/encore/record/C__Rb2083370?lang=cat
Quarante, Danielle (1992). Diseño Industrial 1. CEAC. Barcelona
Quarante, Danielle (1992). Diseño Industrial 2. CEAC. Barcelona
Roca, David (2001) “Una manifestación de la creatividad en publicidad: la dirección de arte”. En Creatividady Comunicaciónnúm. 6. 2001
Rom, Josep (2006) Del disseny gràfic a la publicitat. Trípodos. Barcelona.
Rom, Josep (2006) Sobre la dirección d’art. Trípodos. Papers d’estudi. Barcelona
Satué, Enric (1992) El diseño gráfico. Alianza Editorial. Madrid
Tena, Daniel (2017) Diseño gràfico publicitario.Editorial Síntesis. Madrid.
White, Alex W. (2009) The elements of graphic design. Allwort press. New York.
Clavera Anna, (2007) De lo bello de las Cosas. GG. Barcelona.
Software
The Affinity (Publisher, Designer, Photo) or similar program will be used in the course.
In addition, students can use other programs, prior communication and agreement with the teaching staff.