Design and Camera Lucida in the Travel diary

The traveler has always drawn. Graphically marking what he looks at, in order to assimilate it through a translation into signs, extrapolating those details that allow him to synthesize the description of reality. The tools of the drawer on the road affect the time and the manner of realization, driving the different authors to choose different modes of expression with respect to their different purposes. In the nineteenth century, the invention of the Camera Lucida and afterwards of the Photography (both evolutions of the Camera Obscura), in a different ways have led to a speeding up of the representation of reality. In the era of digital photography, which does not require the author to synthesize, the rediscovery of the Camera Lucida imposes a two-way relationship between knowledge and discretization, through ther process of drawing. Direct experience has led us to redefine the execution times of views, expanding the design part and reducing the production one. To operate under the guidance of the tool allows you to maintain proportional relationships and prospective, excellent bases for a later improvement by a graphic dressing. In the dimension of the "carnet de voyage" from '800 to today, this redefinition has shown potential that may be new, current, vehicles of knowledge.