Our enthusiasm is the fuel we burn to do good, adopting a light-hearted approach to tackling the most intricate situations and tight deadlines. Creativity is the antenna that enables us to get there a split second ahead of the others, capturing trends and how taste evolves. Enthusiasm and creativity are at the source of stylistic and visual design. Without them everything becomes so much more difficult, as well as predictable.
Giuseppe Patanè took his diploma from the Artistic High School in Catania, then studied fabrics and theatrical costume at the Catania Academy of Fine Arts. After completing his studies, he took his first creative steps in his native Sicily, first as a display manager and visual merchandiser, then as a stylist, designer and art director in a variety of European showrooms. This career led him to work as a stylist for off-the-peg collections for women with important international brands before becoming creative director of the brand for women and bridal wear that bears his own name, which débuted in 1996. In his creations, he draws on the atmospheres of his personal Sicily and on the idea of a sensual Mediterranean woman. In the course of his career, he has designed stands and display windows for the most influential brands in the fields of fashion, automotive, jewellery and furniture. His studio in Catania, housed in a period villa with a view to Mount Etna and the sea, is the creative hub of a network of more than twenty showrooms and boutique in Europe and the Middle and Far East.
Challenging the competition with your ideas. Creating your own brand. Taking a gamble with your own abilities and starting your own business. Casting off your fears. Having the vision to see across all a firm’s functional departments and becoming a capable leader that people listen to. At the root of this Masters is the aim to create the people who will make the market of tomorrow tick, with the ability to understand, to do and to decide. At the same time, this Masters trains the many different professional profiles who work at every stage in the fashion, luxury and design industries, people who are always in demand among Italian and international firms.
This Masters is intended for all those who feel they are visionary, open to everything new and to the language of emotions in the various different fields of work related to image and fashion, and interested in a career as a creative director. More specifically, it welcomes students who have developed a particular awareness of materials and how they can be used in visual design projects. Professional experience in the fields of exhibition design, installations, visual merchandising and the wedding and fashion business are plus points.
The students are guided by professionals operating in the field, who provide the theoretical groundwork and the practical knowhow for tackling situations typical of visual merchandising and product promotions. This dialogue with professional architects, designers, craftsmen and wedding specialists who work at the peak of the market and add an extra element of value to Made in Italy every day is the guarantee of an absorbing, effective training experience. At the end of the course, students will have acquired a clear understanding of how to approach the successive stages in their own growing careers.
If the world’s geography is made up of intercommunicating vessels, which tools do we need to be sure that our messages do not fall by the wayside? Visual design is the discipline practised by those who develop major flows of information and content. Each sign is followed by a reaction. Each step forward is followed by a trade or an exchange. What’s important is that they are always constructive, fair and interesting.
Francesco Cavalli has accumulated more than twenty years of experience in the area of visual communication as a creative director and strategic designer. He lives and works in Milan, where he founded Leftloft together with Bruno Genovese, David Pasquali and Andrea Braccaloni while studying town planning at Milan Polytechnic. Since 1997, the office has designed more than 900 projects for clients in Italy and abroad. From corporate identity to publishing and event curating, he has worked for Moleskine, Documenta, FC Internazionale, Milan Triennale, Cassina, Colmar and Subito, among others. In 2009, he left Milan temporarily to open a subsidiary office in New York. Over the years, he has combined his professional work with promoting design culture through the Ministero della Grafica association and teaching at the Milan Polytechnic Faculty of Design and in other schools. In 2015, he created Luft, Leftloft’s research think tank, a workshop for brainstorming about the meaning and practice of contemporary design processes that organises multidisciplinary discussion events.
Visual designers find employment in areas where firms have to relate to the public, such as in editorial offices, production companies and start-ups. And also, of course, in the design and communication industry, as freelancers or in the galaxy of local and international graphic design, branding, advertising, digital and service design offices and agencies. From an ATM user interface to television title credits, from biscuit packages to speeding fines, from the newspapers we read to the events we attend to the socks we wear, the whole world is a huge mine of opportunities for design.
This course is for designers who hold a first-level degree and/or have accumulated some professional experience in issues concerned with graphic design, image, communication, product and publishing, as well as everyone in general who thinks that communication is a viable career choice and a strong aid to individual growth. This is a Masters for those who believe that details make all the difference and are convinced that communication and experience are forged on an emotional, creative and artistic level as much as in terms of strategy.
Working and thinking together: the students develop – while designing – their skills in composition, drawing and the use of typography and of photography, as well as the foundations of data display and of prototyping as technical and artistic bases for giving shape to ideas. At the same time, students experiment with different approaches to research, to understanding the issue of design and its bonds, and to generating ideas that have real impact. The projects cover a variety of areas of image and cultural, commercial and editorial communication, creating products for physical and digital applications.
Why do some design projects that seem to have ticked all the right boxes simply fail to pass the test of the market? Does such a thing as a recipe for success even exist? The answer is no: there are no fool-proof recipes. What does exist is talent, energy and a serious approach to designing, an understanding of the complexity of the world and the ability to adapt models to suit it. Then there are tenaciousness, analysis and learning: these are the things that do exist.
A Frenchman born in Austria, Marc Sadler has lived and worked as a designer in France, the United States, Asia and Italy. One of the first graduates in Esthétique industrielle at the ENSAD in Paris, with a thesis in plastic materials, he was a pioneer of experimenting with materials and of cross-fertilisations between technologies, both issues that have become distinctive features of his work. At the beginning of the seventies, he designed the first ski boot made of 100% recyclable thermoplastic material, which was produced on an industrial scale by the Italian firm Caber (which later became Lotto). By virtue of his eclectic nature, he is now a consultant with firms operating in all areas of industry. The important awards and acknowledgements he has won over the years include four ADI Compasso d’Oro awards (1994, 2001, 2008 and 2014). The back protector he designed for Dainese features in the permanent collection at the MoMA in New York, while his Mite lamp for Foscarini can be seen in the design collection at the Centre Pompidou in Paris. He is so passionate about painting and drawing that he considers them to be his most authentic interests.
This Masters is designed to provide students with a methodological toolkit and skills that will enable them to design products effectively in a very broad range of industrial sectors.
The course targets graduates in design and architecture, as well as young designers, architects and practitioners who are curious and want to broaden their aesthetic horizons. They are destined to be the movers and shakers of creative designing in future, the ones who write the agenda for design in firms, in architecture and design offices, in research groups, in major global organisations and also in professional contexts and fields that we cannot even imagine today.
Students attending this course get a chance to experiment with different approaches to designing, as a function of different types of clients and stakeholders. Research-based design is extremely pro-active and favours unusual formal or constructive solutions. When design focuses on execution, the designer becomes a businessman capable of offering solutions that integrate into consolidated production practices, but also of standing out for his personality. Ground-breaking design, lastly, leaves more space for pure creativity, as long as the bases of good research and good execution are also there.
Creativity means experimenting with our familiarity with tradition and elaborating on it. Tradition, in its turn, filtered through contemporary awareness and benefitting from new technologies, is transformed into innovation. The fashion system functions as a reflection of the contemporary world and as a prediction of the near future, but also as a dream, as emotions. Our emotions are always the main driving force of the act of creation.
Born in Milan in 1975, Gabriele Colangelo started making his first steps at a very tender age in his family atelier, which specialised in making furs, and it was from his parents that he learned about the care to be taken in creating his own collections. While he was still very young, just after completing his classical high school studies, he won a scholarship with the Italian National Chamber of Fashion as a fashion stylist. His first position designing for the Versace Women’s Jeans brand was followed by other more important ones with Versace and with Just Cavalli Woman. Step by step, Gabriele Colangelo’s interpretation of his fashion ideal of a woman gradually took shape: lyrical, discreet, refined, timelessly graceful but also open to innovation. His first capsule collection was launched in 2008 and it was in the same year that he won the Alta Moda Roma and Vogue Italia Who is Next Award. In 2015, he was appointed Creative Director with the Giada brand, which was founded in Italy by Rosanna Daolio in 2001 and has been expanding vigorously in China since 2006. In 2016, he won the IDA International Design Award for Fashion.
This Masters course is designed to keep a very close relationship with the real working world, exploiting the opportunity to dialogue with and learn directly from people who occupy leading roles in the fashion business. The course aims to develop students’ ability to shape their ideas as a force for generating products, going beyond superficial creativity. It is an advanced form of training that forges contacts between students and all aspects of the design process, from the up-front thinking to the execution and from presenting to communicating. At the end of the course, students will be ready to play an effective role in fashion firms.
This Masters targets graduates in design disciplines, young designers, fashion designers and other creatives, in general everyone who aspires to develop further on their existing knowledge by dialoguing with professionals who work in the field and make their experience, their awareness and their vision available.
Students work on how to approach and set up the collection and its process. The creative idea takes shape by assimilating two basic elements: the fabric, with its infinite solutions and possibilities for experimenting, and the model, i.e. the expression of how volume is applied to the material. The collection is generated by applying the method of styling, so as to maximise its impact and convey a clear, incisive message. The presentation is conceived of as a runway show, paying due attention to the media opportunities of sharing.
Fashion is education about beauty, the ability to express thoughts and emotions, the most direct expression of the contemporary world: colours, shapes and materials in perfect harmony. It is the most lively of the art forms, thriving on people in real life. Like in a major theater "pièce", getting the stage-set just right is crucial in the game of seduction, but a part cannot stand for the whole. To be able to keep on winning over an increasingly stimulated and probably confused consumer is to go back to fundamentals by employing in-depth technical training.
After graduating in Spanish language and literature, Massimiliano Giornetti studied Fashion Design at the Istituto Polimoda in Florence, attending a course associated with the London College of Fashion and the Fashion Institute of Technology in New York. In 1999, he worked with the designer Anton Giulio Grande in Rome, then in 2000 he joined Salvatore Ferragamo, where he worked with men’s knitwear before becoming Creative Director for menswear four years later. In 2010, he started designing the women’s prêt-à-porter collection and in the same year was appointed Creative Director for the entire brand, the first Creative Director in the Florentine brand’s history. In 2012 he took part in an unprecedented project: on the occasion of the exhibition sponsored by Ferragamo at the Louvre in Paris, Sant’Anna - Leonardo da Vinci’s Last Masterpiece, he had the opportunity to present the Resort 2013 collection in the peristyle of the museum’s Denon Wing. This was the first time that the Louvre had ever allowed its spaces to be used for a fashion event. In 2013, he won GQ magazine’s Design of the Year Award in Mexico City.
This Masters course is designed to maximize the unique characteristics of each student’s creative genius, but it also aims to forge highly qualified, dynamic professionals who will find it easy to build their careers. At the end of the ten month study period, their extensive knowledge of the entire work process will enable students to find employment in menswear style office with fashion brands in Italy and internationally.
This Masters course is addressed to design graduates, students with a diploma from Fashion schools and young designers who want to confront themselves with practicing professionals, so as to broaden their horizons to encompass new forms of experimentation and new aesthetic opportunities. The aim is to train the stars of tomorrow’s fashion scene, equipping them with an independent, unique creative vision and at the same time a strong ability to penetrate into the complexity of a highly volatile market.
Students who attend this Masters course will acquire a fully-rounded vision of the fashion industry, working side by side with the professionals who lead today’s luxury market. They will analyse consumer and macro business trends, discuss how aesthetics applies to fashion, create mood boards and conduct targeted research under the guidance of industry experts. But above all they will work together, step-by-step, on constructing a collection, both in a portfolio and in a real piece. Lastly, they will also learn how to go about styling, editing and managing the final runway presentation.
Photography means providing a useful and interesting model of the world, one that helps us love reality by talking about it. To be a photographer is no longer a craftsman trade. Digital technology forces him to shrug off the obsession with the technique in favor of a mindset increasingly related to the ability to see, to interpret and to narrate.
Born in 1960, Denis Curti is a benchmark among critics of Italian and international photography. He has curated exhibitions dedicated to such lens masters as Helmut Newton, Henri Cartier-Bresson, David Lachapelle, Elliott Erwitt and the Italians Gianni Berengo Gardin, Franco Fontana and Ferdinando Scianna. An expert in the market and collecting, he has also curated auctions for Sotheby’s and Minerva Auction. The author of the first manual on collecting photography, he founded the Still gallery in Milan and has served for 15 years as Director of the Milan venue of Contrasto, creating a host of projects for firms and institutions. A co-founder of Milan’s Forma Foundation, he held the office of Vice-President until 2014. Over the years, he has co-ordinated publishing and advertising activities with leading international photographers, in particular with the Magnum agency. Editor of the monthly magazine Il Fotografo, he co-ordinates the Sprea Fotografia group’s publications. He is a member of the Artistic Committee at the Villa Reale in Monza, he is the director of the photography festivals of Capri and Bergamo.
Photographers have to be active, effective and conscious interpreters of the contemporary world. That is why the lectures are built around a lifelong education approach. Our lecturers are experienced, skilled and great at their work: this ensures that our students will receive high-profile training, culminating in the possibility of them finding professional placement in various areas of visual production, communication and image, both in Italy and internationally, from still & motion and storytelling to advertising and corporate fields.
This Masters is designed to suit the needs of everyone who wants to learn and develop the themes of contemporary photography, transforming a passion into a profession. In particular, it is designed for students aiming to (re)define and (re)position themselves professionally, to keep abreast of today’s developing contexts. Who are the photographers of the future (and of the present)? They are people with the skills, abilities and critical awareness it takes to tackle the enormous scene of contemporary production without any hang-ups and to launch an independent, continuing and successful business of their own.
Working side by side with the professionals who lead in today’s market, our students acquire a fully rounded appreciation of the new approaches to designing an identity, a reportage, advertising campaigns and corporate communications. This Masters focuses on tangible experience with real assignments proposed by firms and institutions. A vital part of the curriculum is devoted to how the market for collecting, publishing and fine art functions. It does this by putting together a personal portfolio, the first step towards establishing relations with international galleries and curators.
The monolith is crumbling. Advertising is looking out for new ways of reaching people, who are more alert and streetwise than in the past. Once, there was plenty of money and a few media. Today it’s exactly the opposite and from the solid block of rules and methods of the past we now have to progress quickly to an advertising that can flow like a liquid into all the spaces made available by technology.
Class of 1951, Gianpietro Vigorelli is a benchmark for Italian advertising in recent decades. During the course of his career, he has stood at the helm of the most important and creative agencies. In 1987, he was Creative Director at Saatchi & Saatchi Advertising, where he created a series of commercials directed by Woody Allen for the Coop in 1992. In 1994 he joined to Young & Rubicam and he created commercials for Barilla, with directors such as John Landis. In 1997, he and his partner Maurizio D’Adda co-authored that year’s edition of the Italian popular San Remo music Festival. In the same year, he and two longstanding friends, Maurizio D’Adda and Riccardo Lorenzini, set up their own agency. In 2000, he was Vice-President and Creative Director of DLV-BBDO, as result of the agency’s merger with BBDO Italy. As a director, he created advertising campaigns for Danone, Philips, Pirelli, Renault, Motta, Pupa, Barilla and Tè Ati. In 2010, he retired as President of BBDO to work as a promotion consultant at world level. His first job was as a lithographer.
We don't want to raise executioners of theoretical paths built somewhere else by others, but active, effective, responsible advertisers who are ready to take on the burden of every stage of developing an idea, from briefing to publication, and feedback gathering . At the end of the course, students will be able to find work in major Italian and international groups, service companies, consultancy offices and also NGOs and research institutes, as well as accepting the challenge and setting up their own business.
This course is intended for students with a first-level degree and/or professional experience in areas related to image design, advertising, communication and marketing and in general for everyone who thinks that communication is a viable career choice and a strong aid to individual growth. Participants include as well as copywriters, art directors and account executives of the agencies of the future, but also aspiring corporate communication managers.
If you want to get to the top, learn from those who are already there. Our students have a chance to acquire a fully-rounded vision of new approaches to brand building, working side by side with the professionals who lead the way in today’s market. The course analyses communication techniques that support the brand, including some that are less frequent – but crucial – such as crisis management and defense methods against fake branding. At the end of the course, students will have a clear appreciation of the state of the art of advertising.
Our cities reflect the communities that take possession of them, the theatres where we act out our social lives. In a world where 55% of the population lives in major conurbations, learning to work with the complexity, the flexibility and the contradictions of urban contexts is necessary, as well as interesting and fertile, for designing new futures.
Luca Molinari is a critic, curator and associate professor in History of Contemporary Architecture at the Second University of Naples. He is a member of Italy’s High Council for Cultural and Landscape Heritage. He served from 2001 to 2004 as Academic Director of the Architecture and Town Planning sections of the Milan Triennale and as a member of the academic committee. He has been serving as main curator for SpazioFMG for the Architettura gallery since 2007. A consultant for the publisher Skira’s architecture and design series since 1995, in 2010 he curated the Italian Pavilion for the XII International Architecture Exhibition at the Venice Biennale. He has lectured at the Cornell University of Architecture, Art and Planning in Rome, the Photography Foundation in Modena, the Guangzhou Academy of Arts and the University of Camerino-Ascoli. In addition to writing the column on architecture for the weekly magazine l’Espresso, he publishes regularly in numerous other magazines and newspapers.
This Masters course trains creatives to have an independent, secular view of the city, an ability to listen before they start dictating rules, an open attitude to innovation and a disposition to listen to the ancient heartbeat of the places where we live. Applying experiences that cut horizontally across conventional divides, it defines a methodology that features extensive mental and operational openness, enabling students to work both in major international offices and independently. At the same time, it offers innovative tools to people whose work in the public sector involves imagining alternative options for the city of the future.
Second level graduates (3+2 years) in architecture, design and urban design and professionals from both private offices and the public sector who want to extend their experience in the fields of urban design and public space design.
Ten project sessions, each with an Italian or other European architect or town planner with unique experience in devising, constructing and managing public space. Ten differently-scaled design workshops. Ten mini-competitions focusing on ten spaces in Milan in need of visions and solutions. Every competition ends with a final jury and a winner. Taken together, these projects shape a major, unprecedented narrative of the city of Milan.
Without design, the world would be a much poorer, more tiring place. The discipline of design can be defined as ‘pervasive intelligence’ that invites us to find new meanings and new solutions, and that educates people to generate value and values for the world around them. Design has always been a powerful driver of social and aesthetic progress and of thinking.
Carmelo Di Bartolo has been conducting studies and research in the area of bionics and of design since 1980. In 1982, he established CRIED, the Research Centre of the Istituto Europeo di Design school. In 1998 he left IED and founded Design Innovation, a workshop that researches processes of advanced design. He has developed projects for Fiat Chrysler Automobiles, the Fiat Research Centre, Ferrari GT, Argotractors, Samsung, the World Bank, Indesit, Luxottica, Electrolux and Pirelli. He is an associate professor at the University of Montreal, contract professor at the IULM University in Milan and the Suor Orsola Benincasa University in Naples and corresponding academic for Italy with the National Academy of Fine Arts in Argentina. He has worked as a contract professor at Milan Polytechnic and as Visiting Professor at the ECAL in Lausanne, the TEC in Monterrey, Campus Guadalajara and in many other international universities and research centres.
Design is an essential factor for every firm that makes the quality of its products a hallmark of its market positioning. That quality comprises the product’s conception, usability and emotional appeal, its ability to cater for the requirements of environmental sustainability, a suitable choice of materials and the product’s life cycle. And the designer is the lead actor in the process of defining the product’s main characteristics. At the end of this course, students will be able to find opportunities for work or structured professional placement in all sorts of different fields of industry, wherever innovation converges with the quality of products, services and processes.
The course is for applicants with a secondary school leaving diploma. Ideal students in this course aspire to transform their creative characteristics into the abilities to think, to conceive, to execute and to communicate projects, products and services. The course provides them with the research tools, methodologies and processes they will need to be able to govern the complexity of designing. As design is interdisciplinary by nature, the course will introduce students to the tools they need to interact with various experts in managing the process, from the product’s conception to its market commercialisation.
The first year curriculum is designed to enable students to learn the tools of basic design, perception and the human senses, familiarity with materials, history of design, design theory and representation, designing 1. The second year features a strong component of design labs, workshops, interdisciplinary labs and site visits to firms. The third year is devoted to analysing future trends and scenarios, new opportunities for design, with the city as a theatre for design. The last semester focuses on developing a design thesis in partnership with firms.
The fashion system is a huge, articulated and sometimes unpredictable territory, where a sense for the classics manages to find common ground with the extremes of experimentation. There is no fool-proof recipe for success: it takes a readiness to work hard, together with the curiosity to learn and to measure up to the outside world and its thousands of cultures: haute couture, pop, ethno… It takes a really sharp eye – that has to be trained – capable of noticing the tiniest detail. An eye that is familiar with traditional methods of tailoring, but is not too sconed to suggest an impudent elegance.
Born in Aragon, Spain, Cristina Ortiz spent the first sixteen years of her life in Tenerife, in the Canary Islands, on a set made up of sun, sea and volcanoes: a perfect place for cultivating her creativity. After taking her diploma at the prestigious École de la chambre syndicale de la couture in Paris in 1986, she launched into a career that brought her to the top of the great international fashion houses. She served as creative director of Prada Woman until 1997, when she became the creative director for women’s ready-to-wear and accessories at Lanvin. She then followed up this experience by moving to Brioni as creative director of the women’s wear line, a position she held until 2008, when she moved to Ferragamo. Here she succeeded in the far from easy task of reviving the glamour and allure of Salvatore Ferragamo, restoring the brand’s long-established splendor while transforming it into a contemporary brand with a strong identity. Spontaneous, energetic and multicultural, she provides a voice for fashion that is elegant yet wearable, with no excess. She now continues to work with several brands, while at the same time conducting personal research focusing on launching her own line of jewellery.
The style scene and the professions involved in it are evolving radically, as traditional categories become porous. In addition to careers with fashion brands, alongside the great fashion designers (as assistant designer, pattern maker, production assistant, fashion stylist or fashion illustrator) or as a freelance, a series of crossover functions and opportunities are opening up at international level, linked to creativity, production, distribution and promotions. Knowing that you can count on a high-profile training is nearly always a trump card in these contexts.
This course is designed for candidates with a high school diploma and for students from Italian or foreign universities. Ideally, candidates are driven by a sincere passion for design, style and clothing and an urge to employ their own potential for designing, interpreting and communicating, as well as their innate abilities and talents, to build a career on the fashion scene. During the three years, students learn to interpret the world around them in ways that are not immediately self-evident, a skill they will be able to apply to great effect in future professional and creative contexts.
First year: elements that introduce students to the study of fashion design, general preparation. Second year: intermediate development of the topics and specific focuses. Third year: completion of the topics, final project and compilation of a portfolio. In particular, students analyse forms, silhouettes, materials, production processes, social factors and customs that underlie a conscious, articulated, original design process. The atmosphere in the classroom encourages students to express their individuality and explore new territories and contexts, including venturing beyond the pale.
To design is to transform the world, from the simplest things right up to the most complex ones. Design is not just a discipline that teaches us how to invent and improve the material side of life: it is also an ideal model that teaches us how things both great and small are bound together by invisible threads. It is the art of change, responsibility and commitment.
An architect, Franco Achilli trained with Alfred Hohenegger, Giorgio Fioravanti and Gianni Sassi, then at the New York School of Visual Arts. After acting as assistant to Emilio Fioravanti at G&R Associati, he opened his own first office in Milan in 1985 with Guglielmo Ghizzardi and Mario Piazza. In 1995, he launched A+G Achilli Ghizzardi Associati, which he still runs today, working in architecture, brand and exhibition design, and publishing graphics. His clients in a career spanning over thirty years have included industrial and commercial groups, publishers and international organisations. He has continuous experience in lecturing in design schools and teaches Visual Identity in Brands at the IULM University in Milan. He has been a Visiting Professor at the Northern Illinois University and had held courses at the University of Palermo, the Art Institute of Chicago, Milan Polytechnic, the IUAV in Venice and other universities. The acknowledgements he has received for his teaching work include ten awards from the Designer & Art Directors Club of London. He has written and edited publications about design and his work has featured in leading international magazines.
The visual designer is a creative who is also capable of co-ordinating the skills of a team specialising in a variety of disciplines. He also knows how to face, as the orchestra conductor, omplex issues at stake in institutional communications, services and products. This course enables students to acquire a methodology to use in the different phases of a project and its execution and to apply for employment as designers (in professional offices, agencies or organisations) or creative consultants for industrial or commercial firms, or – by opening an office of their own – to take the plunge as entrepreneurs of their own careers.
The course is intended for students who have a high school leaving diploma coming from either an Italian or a foreign university. Applicants will be expected to show a strong interest in design disciplines (visual, graphic, exhibition and digital design, lettering, photography and video), in social sciences (anthropology, theories of communication and mass media, sociology and semiology) and in the culture of the visual arts (art and design history). Students who attend this course are future designers of digital and analogical communication, creative directors and brand experts.
An introductory phase (First Year) is followed by an intermediate one that focuses on a case study (Second Year) and then a completion processs dedicated to the final project and portfolio (Third Year). From the groundwork of basic design to the grammar of typography, from graphic layout software programs to packaging, from motion graphics to interactive design, students learn all the disciplines related to visual design, combining techniques with technologies and their own cultural humus, so as to operate consciously in the complex scenarios of our contemporary society.
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