Design Thinking & Pre Production Syllabus for Visual Effects 1st Sem 2017 Pattern Mumbai University

Design Thinking & Pre Production detailed Syllabus Scheme for Bachelor in Visual Effects (Visual Effects), 2017 regulation has been taken from the University of Mumbai official website and presented for the Engineering students. For Course Code, Course Title, Paper Type, Marks Assigned, Theory Hours/Eqvt, Practical Hours, Credits and other information, do visit full semester subjects post given below.

For all other Mumbai University Bachelor in Visual Effects 1st Sem Syllabus 2017 Pattern, do visit Visual Effects 1st Sem 2017 Pattern Scheme. The detailed syllabus scheme for design thinking & pre production is as follows.

Design Thinking & Pre Production Syllabus for 1st Year 1st Sem 2017 Pattern Mumbai University

Design Thinking & Pre Production

UNIT 1

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UNIT 2

STAGE ONE – DEFINE THE DESIGN STRUCTURE SHOULD BE ARRIVED AT AFTER A HEALTHY AND DEBATING DISCUSSION BETWEEN, DESIGNERS, MARKETERS, BUSINESS HEADS, AND COPYWRITERS. THE OUTPUT SHALL CLEARLY DRAW A GUIDELINE AS TO WHAT THE CONCEPT, DESIGN, COLOR, IMAGERY, AND CONTENT COMBINATION SHALL BE. 2

UNIT 3

STAGE TWO – IDEATE BRAINSTORM A RANGE OF CRAZY, CREATIVE IDEAS THAT ADDRESS THE UNMET USER NEEDS IDENTIFIED IN THE DEFINE PHASE. GIVE YOURSELF AND YOUR TEAM TOTAL FREEDOM; NO IDEA IS TOO FAR-FETCHED AND QUANTITY SUPERSEDES QUALITY. 2

UNIT 4

UNIT 5

TESTING THIS PHASE IS ALSO CALLED AS ‘EXECUTE. THIS IS THE PHASE WHERE THE FINAL SOLUTION IS TESTED ON A FULL SCALE BASIS. THE IDEA THAT SEEMS THE BEST ACCORDING TO THE FEEDBACK OF THE CUSTOMERS AND END USERS IN THE PROTOTYPE PHASE WILL BE EXECUTED. IN THIS STEP, THE DESIGN THINKERS ARE SUPPOSED TO BE COLLABORATIVE AND AGILE. 2

UNIT 6

RESEARCH – PART 02 ONCE THE BRIEF HAS BEEN DEFINED AND AGREED, A DESIGNER STARTS TO SEARCH FOR INFORMATION THAT CAN BE FED INTO THE CREATIVE PROCESS AT THE IDEATION STAGE. THIS RESEARCH CAN BE EITHER QUANTITATIVE WITH HARD STATISTICAL FACTS ABOUT THE SIZE AND COMPOSITION OF TARGET USER GROUPS, OR QUALITATIVE WITH INFORMATION ABOUT WHAT THAT USER GROUP BUYS OR CONSUMES AND WHAT THEIR LIFESTYLE IS LIKE PRIMARY RESEARCH: A PRIMARY SOURCE OF RESEARCH IS THE FEEDBACK GENERATED DURING THE LEARNING PHASE OF PROJECTS PREVIOUSLY UNDERTAKEN WITH THE SAME OR SIMILAR CLIENT. SECONDARY RESEARCH: IT IS THE INFORMATION OBTAINED FROM GENERAL SECONDARY SOURCES SUCH AS CONSUMER MARKET RESEARCH REPORTS.

UNIT 7

UNIT 8

REFINEMENT 01 – THINKING IN IMAGES FIRSTLY, IT IS IMPORTANT TO ACKNOWLEDGE THAT DESIGN THINKING IS NOT ABOUT GRAPHIC DESIGN ONLY HOWEVER, DESIGNERS ARE OFTEN USED TO COMMUNICATING THEIR THINKING VISUALLY AND DRAWINGS, SKETCHES, PROTOTYPES, ETC. ARE OFTEN USED TO CONVEY THE IDEAS CREATED WITHIN A DESIGN THINKING PROCESS.IN FACT, IDEAS WHICH ARE HARD TO EXPRESS EASILY IN WORDS ARE OFTEN GIVEN SHAPE IN THE FORM OF VISUAL METAPHORS. DESIGN THINKING THUS EASILY INCORPORATES ABSTRACT THOUGHT PROCESSES -SOMETHING THAT SCIENTIFIC THINKING MAY FIND MORE CHALLENGING TO ACCOMMODATE. 4

UNIT 9

APPROPRIATION THE APPROPRIATION OF PRE-EXISTING OBJECTS AND IMAGES HAS BEEN USED EXTENSIVELY IN MODERN ART AND DESIGN. PABLO PICASSO USED OBJECTS WHICH WERE NOT PREVIOUSLY ART, SUCH AS NEWSPAPER CLIPPINGS (NOTABLY IN HIS WORK GUITAR, NEWSPAPER, GLASS AND BOTTLE IN 1913). THESE WORKS PLACED THE OBJECTS IN NEW CONTEXTS WITHOUT TRANSFORMING THE ORIGINAL CONCEPT. 4

UNIT 10

UNIT 11

VISUAL METAPHORS A VISUAL METAPHOR IS AN IMAGE THAT CONNOTES SOMETHING OVER AND ABOVE ITS DENOTATIVE ASPECT. IT CARRIES AN IDEA THAT RESONATES WITH READERS OR AUDIENCES ON MANY LEVELS. 2

UNIT 12

REFINEMENT 01 – USAGE OF COLOR COLOUR IS A CENTRAL COMPONENT OF DESIGN, AND IT IMPACTS ENORMOUSLY ON THE AUDIENCES READING OF AN IMAGE. COLOURS HAVE MEANING, MOOD, AND CULTURAL ASSOCIATIONS. A GOOD DESIGNER CAN USE COLOUR TO MAKE HIS OR HER DESIGNS ATTRACTIVE, BUT A GREAT ONE KNOWS HOW TO CHANNEL THE VARIOUS LAYERS OF COLOUR TO MAKE THE DESIGNS STAND OUT AND REALLY MAKE AN IMPACT.

UNIT 13

UNIT 14

TYPE FACES YOU’LL EXPLORE THE TYPE TOOL, LEARNING HOW TO CREATE TEXT BOXES, RESIZE TYPE, WRAP TEXT AROUND IMAGES, CREATE VERTICAL COLUMNS OR FILL SHAPES WITH TEXT, ADJUST LEADING AND KERNING, AND MAKE YOUR TYPE FOLLOW PATHS. JUST WATCH IT GO! YOU’LL ALSO LEARN TO USE STYLES TO HELP AUTOMATE YOUR TEXT FORMATTING IN LARGE DOCUMENTS. IN THE EXERCISE, YOU’LL DESIGN THE TYPE FOR A BUS AD. 4

UNIT 15

PROTOTYPING – DEVELOPING DESIGNS PROTOTYPES ARE OFTEN USED IN THE FINAL, TESTING PHASE IN A DESIGN THINKING PROCESS IN ORDER TO DETERMINE HOW USERS BEHAVE WITH THE PROTOTYPE, TO REVEAL NEW SOLUTIONS TO PROBLEMS, OR TO FIND OUT WHETHER OR NOT THE IMPLEMENTED SOLUTIONS HAVE BEEN SUCCESSFUL. TYPES OF PROTOTYPE

LOW-FIDELITY PROTOTYPING
LOW-FIDELITY PROTOTYPING INVOLVES THE USE OF BASIC MODELS OR EXAMPLES OF THE PRODUCT BEING TESTED.
HIGH-FIDELITY PROTOTYPING
HIGH-FIDELITY PROTOTYPES ARE PROTOTYPES THAT LOOK AND OPERATE CLOSER TO THE FINISHED PRODUCT. 4

UNIT 17

UNIT 18

DEFINING AND VISUALIZING CHALLENGES DESIGN THINKING IS AN IDEOLOGY SUPPORTED BY AN ACCOMPANYING PROCESS. A COMPLETE DEFINITION REQUIRES AN UNDERSTANDING OF BOTH. DEFINTION: THE DESIGN-THINKING IDEOLOGY ASSERTS THAT A HANDS-ON, USER-CENTRIC APPROACH TO PROBLEM SOLVING CAN LEAD TO INNOVATION, AND INNOVATION CAN LEAD TO DIFFERENTIATION AND A COMPETITIVE ADVANTAGE. HOW – THE PROCESS THE DESIGN-THINKING FRAMEWORK FOLLOWS AN OVERALL FLOW OF

UNDERSTAND,
EXPLORE, AND
MATERIALIZE.

WITHIN THESE LARGER BUCKETS FALL THE 6 PHASES: EMPATHIZE, DEFINE, IDEATE, PROTOTYPE, TEST, AND IMPLEMENT.

UNIT 19

WHY THE ADVANTAGE WHY SHOULD WE INTRODUCE A NEW WAY TO THINK ABOUT PRODUCT DEVELOPMENT? THERE ARE NUMEROUS REASONS TO ENGAGE IN DESIGN THINKING, ENOUGH TO MERIT A STANDALONE ARTICLE, BUT IN SUMMARY, DESIGN THINKING ACHIEVES ALL THESE ADVANTAGES AT THE SAME TIME:

IT IS A USER-CENTERED PROCESS THAT STARTS WITH USER DATA, CREATES DESIGN ARTIFACTS THAT ADDRESS REAL AND NOT IMAGINARY USER NEEDS, AND THEN TESTS THOSE ARTIFACTS WITH REAL USERS.
IT LEVERAGES COLLECTIVE EXPERTISE AND ESTABLISHES A SHARED LANGUAGE AND BUY-IN AMONGST YOUR TEAM.
IT ENCOURAGES INNOVATION BY EXPLORING MULTIPLE AVENUES FOR THE SAME PROBLEM. 2

UNIT 20

UNIT 21

DESIGN RHETORIC RHETORIC IS AN ART OF SHAPING SOCIETY, CHANGING THE COURSE OF INDIVIDUALS AND COMMUNITIES, AND SETTING PATTERNS FOR NEW ACTION ” .. ARISTOTLES REMARKS ON THE RISE OF RHETORIC AS AN ART OF PERSUASION HAVE RELEVANCE TO THE ART OF DESIGN.” HOWEVER, IF TECHNOLOGY IS IN SOME FUNDAMENTAL SENSE CONCERNED WITH THE PROBABLE RATHER THAN THE NECESSARY -WITH THE CONTINGENCIES OF PRACTICAL USE AND ACTION, RATHER THAN THE CERTAINITIES OF SCIENTIFIC PRINCIPLE – THEN IT BECOMES RHETORICAL IN A STARTLING FASHION.” “IN THIS SENSE, TECHNOLOGY IS PART OF THE BROADER ART OF DESIGN, AN ART OF THOUGHT AND COMMUNICATION THAT CAN INDUCE IN OTHERS A WIDE RANGE OF BELIEFS ABOUT PRACTICAL LIFE FOR THE INDIVIDUAL AND FOR THE GROUPS.” DESIGN IS AN ART OF THOUGHT DIRECTED TO PRACTICAL ACTION THROUGH THE PERSUASIVENESS OF OBJECTS AND, THEREFORE, DESIGN INVOLVES THE VIVID EXPRESSION OF COMPETING IDEAS ABOUT SOCIAL LIFE.*

UNIT 22

INTRODUCTION TO SERVICE DESIGN A METHOD FOR DESIGNING EXPERIENCES THAT REACH PEOPLE THROUGH MANY DIFFERENT TOUCH POINTS AND THAT HAPPEN OVERTIME. 4 SERVICE DESIGN CAN BE BOTH TANGIBLE AND INTANGIBLE. IT CAN INVOLVE ARTIFACTS AND OTHER THINGS INCLUDING COMMUNICATION, ENVIRONMENT AND BEHAVIORS. WHICHEVER FORM IT TAKES IT MUST BE CONSISTENT, EASY TO USE, AND HAVE STRATEGIC ALLIANCE. WITH DESIGN RESEARCH, DESIGNS ARE MORE MEANINGFUL AND EFFECTIVE BECAUSE THEY ARE GROUNDED IN A REAL-WORLD CONTEXT. THE GOAL OF THIS COURSE IS TO INTRODUCE THE PROCESS OF DESIGN RESEARCH AND TO HELP DESIGNERS UNDERSTAND HOW CRITICAL IT IS TO BEING ABLE TO DEVELOP GREAT DESIGNS.

PRACTICAL EXCERCISE

Reference Books:

CHANGE BY DESIGN: HOW DESIGN THINKING TRANSFORMS – BY TIM BROWN
ART OF INNOVATION: LESSONS IN CREATIVITY FROM IDEO, AMERICA’S LEADING DESIGNER -BY JONATHAN LITTMAN
DESIGN THINKING: UNDERSTANDING HOW DESIGNERS THINK AND WORK- BY NIGEL CROSS
HOW DESIGNERS THINK – BOOK BY BRYAN LAWSON

REFERENCE LINKS :

http://WWW.SCIENCEDIRECT.COM/SCIENCE/ARTICLE/PII/S1877042811029648
HTTP://EDORIGAMI.WIKISPACES.COM/BLOOM%27S+DIGITAL+TAXONOMY

Jenkins, H., Clinton, K., Purushotma, R., Robinson, A. J., & Weigel, M. (2006). Confronting the challenges of participatory culture: Media education for the 21st century. MacArthur Foundation. Retrieved December 20, 2011 from http://www.digitallearning.macfound.org/

For detail syllabus of all other subjects of Bachelor in Visual Effects (Visual Effects), 2017 regulation do visit Visual Effects 1st Sem Subjects syllabus for 2017 regulation.

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