Abstract

What is the meaning each of us want to give to “his own” architecture, “his own” city, “his own” life? And how can we communicate this with a vision and especially through images? Can the “visual story” become a mirror reflecting our culture, our soul? We are going through a historical moment of which reflection on “visual culture”, but even the most widespread practice of the “act of seeing”, is back to being very contemporary, supported by an ever wider use of images in scientific practice. In this sense, the fundamental role of images in many different disciplines and scientific areas is undeniable, ranging from the culture of vision experienced in the introductory workshop “The page as a visual narrative”, declined in its various applications, from public to private. This workshop ranged between theory and practice, between vision laws and graphic applications for existing work and products, interacting with the customer. The activity carried out a series of practical experiences and reasoning aimed at showing how communication should be planned. The realization of four exhibition panels and four illustrative brochures have put in practice the concept of “visual narrative” to evoke, in the modern communicative reality, the artistic cultural heritage of Cambiano city in Turin’s area and history, products and philosophy of Mazzetti d’Altavilla company in Monferrato.

Highlights

  • We are going through a historical moment of which reflection on “visual culture”, and the most widespread practice of the “act of seeing”, is back to being very contemporary, supported by an ever wider use of images in any types of communication [1]

  • If we want to consider as a linguistic code the compositive geometry of the page as a visual narrative, we can analyze the poster prepared for presenting the event at Mazzetti d’Altavilla in Monferrato (Figure 6). In this case geometry must first be cosidered as the vision coordinator at all levels, from general to particular. It is in this sense that the great geometry of the page directs and orientes the look in the great hierarchy of the visual narrative, showing an image, leaning against a black background holding and framing them

  • It has been confirmed that the “territories” of Visual Communication are numerous and vast, if not even exterminated

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Summary

Introduction

We are going through a historical moment of which reflection on “visual culture”, and the most widespread practice of the “act of seeing”, is back to being very contemporary, supported by an ever wider use of images in any types of communication [1] In this sense, it is undoubtedly fundamental the role of icons in numerous and different disciplines areas [2]. (5) The context, important, indicating the complexity of the conditions under which the communication takes place, and more precisely the situation, known or assumed, which is partially shared by sender and consignee It is part of the “subjects” to which the message refers and attributes meaning, that is its representatives. Among the unifying aspects—or common in any case—it is emphasized the color one: the warm and rosé colors (widely present in the graphic products of both applications) tend to evoke the brick as a traditional raw material in Cambiano historical buildings; while in the case of Mazzetti distillery the same hot colors allude to the “preciousness” of the “noble” grappa, a product linked to the traditions of Monferrato territory

The Visual Narrative of Cambiano
The Visual Narrative of Distilleria Mazzetti d’Altavilla
Cambiano
Conclusions
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