Abstract:

The Science of Vision is a discipline within basic design, originating from the courses of the Bauhaus and the Soviet Vchutemas school, later evolving through the experience of the Hochschule für Gestaltung in Ulm. According to Massimo Hachen, a good design must balance form, function, and symbol. Over time, the semantic component has been recognised as fundamental, particularly in advertising graphics, where the balance between symbol, function, and readability is essential. However, some artefacts consider only one of the three components: we enter the realm of research and experimentation of basic design. Basic design is a field of study and experimentation on visual perception devoid of utilitarian or commercial purposes. This approach is rooted in the philosophy of Nino Di Salvatore, who founded his school on the principles of Gestalt psychology. The gestalt totality principle asserts that any modification within a composition influences the entire system, as all elements are interconnected. The evolution of visual communication accelerated with the invention of the printing press in the 15th century, while a true revolution occurred in the 20th century with photography, television, and computers. As a result, humans had to learn to decode new symbols and manage increasingly complex visual information. However, the organisational principles of vision have remained unchanged. The neurobiologist Semir Zeki, founder of neuroaesthetics, argues that visual arts adhere to the laws of the visual brain, both in creation and perception. According to Zeki, artists unconsciously exploit the visual cortex's specialisation, focusing on form, colour, or movement. Neuroaesthetics examines how the brain processes images, demonstrating that art is an extension of the visual brain, capable of representing essential characteristics of reality through abstraction and generalisation. Both artists and neuroscientists aim to identify universal and constant forms in visual perception, revealing an analogy between contemporary art and cerebral physiology. Recognising the educational value of the experimental approaches developed within the basic design courses, the authors present a didactic experiment, describing its structure and organisation, where a team of faculty and collaborators implemented an active learning approach based on projects, fostering students' visual exploration. Within the Visual Elements of Design course, 67 students were guided and supported in designing game systems, promoting their basic design and visual perception skills. They worked on designing a 54-card deck centred on the theme of environmental sustainability in the city of Milan. Through theoretical sessions followed by practical applications, students were exposed to basic design principles applied to graphic design, emphasising the role of visual perception elements and their impact on design choices. The experiment aims to illustrate the effectiveness of merging theoretical frameworks with hands-on practice to enhance perceptual awareness and symbolic literacy in design education. Students showed an improved ability to manage visual complexity, integrate coherent visual narratives, and understand the interdependence of form, function, and meaning. Ultimately, the study confirms that a vision-based and systemic approach to basic design education enriches student learning and lays a strong foundation for visually articulate communication design systems.

Keywords:

Basic design, visual communication, design education, game systems.