AntonellaMarotta
Objective
The objective of the course is to enable students to achieve a level of knowledge that is functional for creating perspective representations of volumes within space.
The educational aim is to enable students to represent, with ease and within a clearly defined composition, everything located within a space, with the goal of presenting it to a clearly identified audience.
Content
– Nomenclature.
– Geometric entities: point, line, plane, etc.
– Orthogonal or Monge projections: general concepts.
– Conical projections: general concepts.
– Perspectives: Central, Accidental.
– Methods of perspective representation.
– Circle, arc, and staircase in various positions relative to the observer.
– Shadow theory: general concepts.
Tutorials and Reviews
Exercises in each lecture, unannounced tests, revisions of assigned plates. Essential for sitting the exam.
Exam
Unprepared drawing on the day of the exam. Presentation of the perspective plates produced during the course.
Suggested reading list
Perspective and the Theory of Shadows. Il fascino del disegno e della pittura, Leonardo Series.
Marco Bussagli, Prospettiva: Materiali, Metodi, Realizzazioni, Giunti Demetra, 2005.
Sergio Dellavecchia, Assonometria, prospettiva e teoria delle ombre B, Sei Marchesini, Milani, Pavanelli, Arte del disegno, rappresentazione grafica, Hoepli.
SET DESIGN IS THE CREATION OF AN ENVIRONMENT WITH A PARTICULAR ATMOSPHERE, SUITABLE FOR HOSTING AN EVENT THAT ENGAGES THE AUDIENCE ON AN EMOTIONAL LEVEL.
The environment is made up of a combination of different elements, like a musical chord. The person who is willing and able to create, structure and coordinate the realisation of this ensemble is the SET DESIGNER.
In order to provide appropriate training for set designers capable of operating in today’s world, it is necessary to take into account the emergence of the so-called ‘image civilisation’, which has made ‘spectacular’ settings out of situations that were previously not considered by the traditional performing arts sectors. Although this development has introduced sectors previously unconnected to the established practice, it has nevertheless increased the demand for set designers capable of coordinating image and space in the context of these new events.
The aim is to provide a programme that equips students to continuously monitor the challenges and the various possibilities offered by the technologies that are constantly emerging in society, in order to prepare them to plan, coordinate and supervise activities in line with the practices they will be involved in when they assume their future roles.
Scope of the THREE-YEAR COURSE:
Analysis and methodological practices relating to the function of space as applied in various sectors, with the aim of identifying its specific characteristics. Providing an overview of the various sectors increases awareness of the professional opportunities available on the market.
FIRST YEAR:
SPACE MANAGEMENT: It is considered necessary to establish a rigorous foundation in order to effectively undertake the training provided throughout the course and to develop the skills needed to resolve the ‘foreseeable unforeseen’ challenges of the profession.
Students acquire the basic elements for managing space in its narrative function, and they also analyse the initial issues of representation, as well as the treatment of planes and depths and the fundamentals of design methodology.
Projects:
THE MARK OF SPACE and INDICATORS OF DEPTH
PLASTIC MODEL based on GESTALT references
SITE-SPECIFIC INSTALLATION
SECOND YEAR:
DESIGN METHODOLOGY: Practical application of the means and tools required to develop scenographic solutions, with the aim of evaluating them based on objective feedback from the work.
The course covers the application of design methodology to space in the advertising and cinema sectors, which, to be effective, require careful development of the scenic elements in order to produce results with a high degree of ‘plausibility’.
Topics:
Advertising COMMERCIALS
CINEMA
VISUAL MERCHANDISING (display)
THIRD YEAR:
DESIGN AWARENESS: Once students have a solid understanding of design methodology, they can work in sectors where the ability to evoke atmospheres cannot be achieved through the repetition of established formulas.
Having gained greater awareness, students will be able to successfully tackle the more challenging fields of theatre and television, which are characterised by an ‘evocative’ quality.
To the same extent, a high level of dedication is applied in the field of Set Design.
Topics:
TELEVISION
THEATRE
EXHIBITION SPACE DESIGN
Course objectives:
The objective is to ensure DYNAMIC METHODOLOGICAL COMPETENCE suitable for designing the most appropriate ‘Narrative Space’ to meet the demand/supply of emerging professional applications.
Minimum recommended reading list:
Renato Lori, Il lavoro dello scenografo: Cinema, teatro, television, ed. Gremese, Rome 2011.
Nicola Console, Piccolo manuale dello spazio scenico, Volume I: L’architettura teatrale e la scenografia dalla Grecia antica al Medioevo, Dino Audino, Rome 2017.
Nicola Console, Piccolo manuale dello spazio scenico Volume II: L’architettura teatrale e la scenografia dal Rinascimento alla fine del ‘900, Dino Audino, Rome 2017.
Benedetta Dalai, Manuale professionale di scenografia e scenotecnica: il progetto scenico, il disegno tecnico, la realizzazione in laboratorio, Dino Audino, Rome 2017.
Various authors, Breve storia del teatro per immagini, Carocci, 2008.
Franco Perelli, Storia della scenografia: Dall’antichità al XXI secolo, Carocci, 2017.
Renato Lori, Scenografia e scenotecnica per il cinema, Gremese, 2016.
Stven D. Katz, Shot by Shot: Designing Shots, Scenes, and Sequences, Volume I: From Storyboard to Shot Composition, Dino Audino, Rome 2006.
Stven D. Katz, Shot by Shot: Designing Shots, Scenes and Sequences, Volume II: From Static to Moving Shots, Dino Audino, Rome 2006.
Dario Maria Gulli, Inquadrature e regia dallo storyboard alle riprese di un film, Gremese, 2014.
Benedetta Dalai, Eventi: Dal concept alla realizzazione. La creazione dell’allestimento scenico, Dino Audino, Rome 2019.
Massimo Malagugini, Allestire per comunicare. Spazi divulgativi e spazi persuasivi, Franco Angeli, 2008.
Giorgio Stockel, Vedere, rappresentare, comunicare, Kappa, Rome 2006.
Within the comprehensive range of modules offered by the AUDIOVISUAL THEORIES AND TECHNIQUES course, there is also a focus on film set design.
Without claiming to train fully fledged production designers, the aim is to provide audiovisual students with an insight into the complex work of the production designer, as the ‘designer of the plausible’, by teaching them about the various stages of the production process, from the initial concept to the role played by the production design department in the making of a film or commercial, culminating in the personal design of a production set.
The course will consist of weekly sessions, totalling 75 hours of lectures (6 CFA credits), in which theory and practice will be combined, as well as revision sessions (including online, where necessary).
Lecture schedule: Tuesdays from 12:30 pm to 5:30 pm, first semester, Room 206
Punctuality, attendance and revision are required in order to sit the exam.
Course structure: 3 levels
– THEORY: first part of the lecture; technical, historical and practical topics.
– WORKSHOP: second part of the lecture; application of the technical and practical topics covered.
– REVIEWS: second or third part of the lecture; review of the designs.
Visits to film studios.
FINAL EXAMINATION format:
Presentation of the set design project developed during the semester of classes.