In the vast universe of design—whether graphic, interior, or illustration—there is a discipline as silent as it is essential: representation systems. Often overlooked, this is where real design thinking begins.
Understanding space starts with something as simple as a dot: not just a mark, but a starting point from which we begin to construct. From that point emerge the straight line, the plane, and the volume. These are not just abstract concepts; they are the first “letters” of the visual language we use to comprehend objects. From this geometric foundation, transformations—homothecies, rotations, similarities—open new possibilities in design: they allow us to modify proportion, scale, and spatial organization in a comprehensible way, bringing coherence and strength to the visual message.
To express all of this, we use visual tools such as axonometric projection, perspective, or orthographic drawing. These systems are much more than technical drawing—they form a visual language that allows us to clearly communicate ideas, linking logic and communication, and helping us understand spatial organization and relationships between elements.
Throughout the history of design, geometry and representation methods have played a crucial role. They do not just depict reality—they construct ideas and make them communicable. That’s why representation systems are not “just another subject”—they are a way of thinking in design.
At IDarte, when students work on representation systems, they are not simply learning how to draw. The process goes much deeper: it teaches them how to observe and understand space, how to relate objects, and how to structure their design thinking. It becomes a tool for precise thinking and serves as a fundamental visual literacy across all design disciplines.
At the beginning of this academic year, the three departments involved in the Drawing/Representation module—Graphic Design, Interior Design, and Illustration—developed exercises from their own visual languages. In Graphic Design, students developed their own typography based on the concept of tangencies. Using intersections between circles and lines, arc capacities, and complex geometric constructions, they created a typographic system. These are not just letters, but visual identities structured through geometry. Transparency in the process—centers, points of contact, helper lines—was key to making the typographic structure clearly understandable.
In Interior Design, first-year students worked on an inspiring exercise: interpreting the staircase from Olivetti’s showroom designed by Carlo Scarpa. This project allowed them to study the work of a design master and showed how technical precision and creativity must go hand in hand. The choice of representation method and every line drawn served to clarify the visual message and reflect the spatial intent of the project.
In Illustration, students constructed and illustrated an isometric drawing of a classic Kodak Duaflex camera. Technical rigor—parallel lines, angle-based projections, precise circles, volume coherence—was fused with artistic expression to bring personality to the object. This exercise demonstrated how geometry and creativity can enhance one another.
The work done in all three disciplines demonstrates that representation systems are not isolated fields, but rather a shared language that enables dialogue across all areas of design.
For future designers, mastering these systems means mastering communication: being able to clearly express ideas and transform technique into emotion. It’s a skill that opens new doors in the way we conceive and create design.