73465 - Graphic Communcation T (A-K)

Learning outcomes

At the end of the course, the student is able to apply the full range of techniques and processes acquired in the Elements of Graphic Design T course within a real-world communication design case. Throughout the project, the professional design process will be simulated, and students will be required to produce outputs that clearly define both the process and the final product.

Course contents

Visual Communication Lab T

Graphic Communication T is one of the two courses that make up the integrated programme Visual Communication Lab T, together with Elements of Graphic Design T.

The lab is aimed at developing cross-disciplinary skills in communication design through a unified programme that integrates theoretical reflection, cultural approaches, design methodology, and technical experimentation, offering a comprehensive education in the field of visual communication.

The course will be embedded in cultural initiatives developed in collaboration with local organisations.

Graphic Communication T

Within the integrated programme, the course is structured into two sequential and complementary modules, reflecting a progressive learning approach: the first part of the course is primarily theoretical (Module 1), while the second focuses on design practice (Module 2).

Module 1

Developed during the first two months of the course, this module focuses on the theoretical and critical exploration of communication, with particular attention to the languages, historical, technological, and ethical aspects that characterise its evolution.

Through lectures, text analysis, guest lectures, flipped classroom activities, and collective discussions, the module introduces some of the main theoretical and cultural perspectives on communication design.

Topics may include, among others:

• history of graphic design;

• history of typography and type design;

• identity construction and storytelling;

• media (analogue, digital, hybrid) and communication professions;

• impact of emerging technologies (such as artificial intelligence);

• public interest communication and political communication;

• ethical responsibility and social impact of communication, with particular attention to processes of cultural and visual representation (e.g., minorities, gender identities, intersectionality).

Module 2

Developed in the second part of the course, this module focuses on the exploration of methodologies and strategies for managing communication design projects. Teaching activities are primarily laboratory-based and collaborative, aimed at group design processes for the development of a coherent system of communication artefacts.

The main phases of the design process are addressed, including briefing and debriefing activities, research and selection of cultural and design references related to a chosen theme, ideation and development of the concept, creation of moodboards and other forms of visual notation, and the definition and development of a coordinated system of artefacts.

In addition to design activities, the module includes moments of discussion, collective reviews, and interim presentations.

Project work may be developed in collaboration with external stakeholders (associations, companies, institutions).

Final Project

The project, developed in Module 2, will be carried out in groups of 4 to 5 students. The work will be based on one of the themes addressed in Module 1, which each group will choose to further explore.

The expected output is a system of artefacts designed to inform and raise awareness about the chosen theme; this requires each group to adopt a critical approach and define its own point of view in addressing the content.

It includes:

• the design of a “portable exhibition in a box”, contained within a limited and transportable space, which narrates and raises awareness around the chosen theme;

• the creation of a coordinated visual system, both analogue and digital, intended to disseminate the exhibition project (poster 70×100, flyer 35×50, postcard 10×15 or 15×10, along with materials for social media dissemination).

Integration with Elements of Graphic Design T

The course is closely integrated with Elements of Graphic Design T, which provides its technical and operational complement. The design process is supported by the acquisition of tools and skills necessary to produce effective and coherent visual artefacts.

The design process developed in Graphic Communication T will be transformed into an editorial project within Elements of Graphic Design T.

Expected Outcomes

At the end of the course, students will:

• develop analytical and interpretative skills to understand phenomena related to visual communication;

• be able to define a communication design project through its various phases, with methodological coherence and attention to context, as well as to the needs of both clients and target audiences;

• cultivate critical and ethical awareness regarding the role of communication in society;

• learn to work collaboratively, developing design processes in response to real or simulated briefs.

Readings/Bibliography

Critical Thinking

• AA.VV. (2024). Progetto Grafico 40. AIAP.
• Bucchetti, V. (2024). Design della comunicazione. Un ritratto disciplinare: studi e traiettorie. FrancoAngeli. Open Access: https://series.francoangeli.it/index.php/oa/catalog/book/1204
• Calvino, I. (2023). Guardare. Disegno, cinema, fotografia, arte, paesaggio, visioni e collezioni (a cura di M. Belpoliti). Mondadori.
• Falcinelli, R. (2022). Filosofia del Graphic Design. Einaudi.
• Francavilla, C. (2017). Vision & Visual Design. Hoepli.
• Lupton, E. (2017). Design is Storytelling. Cooper-Hewitt Museum.
• Colonetti, A. & Massironi, S. (Eds.)(2023). Fare è pensare. Conversazione per un nuovo Bauhaus. Electa.
• Zingale, S. (Ed.)(2022). Design e alterità. Conoscere l'Altro, pensare il possibile. FrancoAngeli. Open Access: https://series.francoangeli.it/index.php/oa/catalog/book/825

Ethics and Social Responsibility

• Formia, E., Gianfrate, V. & Succini, L. (Eds.)(2023). Design per l’Innovazione Responsabile. Guida per processi formativi in trasformazione. FrancoAngeli. Open Access: https://series.francoangeli.it/index.php/oa/catalog/book/993
• Il post. (2021). Cose spiegate bene. Questioni di un certo genere. Iperborea.
• Lupton, E., Kafei, F., & Tobias, J. (2022). Extra Bold, Una guida femminista, inclusiva, antirazzista, non binaria per graphic designer. Quinto Quarto.
• Papanek, V. (2022). Design per il mondo reale (1971). Quodlibet.
• Steiner, A. (1978). Il mestiere del grafico. Einaudi.

Visual Semiotics

• Floch, J.-M. (1995). Identità visive. Costruire l'identità a partire dai segni. FrancoAngeli.

History of Graphic Design

• Baroni, D., & Vitta, M. (2003). Storia del design grafico. Longanesi.
• Hollis, R. (1994). Graphic Design: a Concise History. Thames and Hudson.
• Meggs, P. B. (1998). A History of Graphic Design. John Wiley & Sons.
  

Fundamentals of Graphic Design

• Bringhurst, R. (2001). Gli elementi dello stile tipografico. Sylvestre Bonnard.
• Bucchetti, V. (2018). Progetto e culture visive. Elementi per il design della comunicazione. FrancoAngeli.
• Frutiger, A. (1998). Segni & simboli. Disegno, progetto e significato (1996). Stampa Alternativa & Graffiti.
• Kanizsa, G. (1980). Grammatica del vedere. Saggi su percezione e gestalt. Il Mulino.
• Kinross, R. (1992). Tipografia moderna. Stampa alternativa.
• Lupton, E. (2010). Caratteri, testo, gabbia. Guida critica alla progettazione grafica. Zanichelli.
• Massironi M. (1982). Vedere con il disegno. Aspetti tecnici, cognitivi, comunicativi. Muzzio.
• Massironi M. (1998). Fenomenologia della percezione visiva. Il Mulino.
• Müller-Brockmann, J. (2017). Systèmes de grille pour le design graphique. Un manuel pour graphistes, typographes et concepteurs d’expositions. Sistemi a griglia per la progettazione grafica. Un manuale per grafici, tipografi e progettisti di spazi espositivi. Entremonde.
• Munari, B. (1968). Design e comunicazione visiva. Laterza.
• Zannoni, M. (2024). Il design delle interfacce. Quodlibet.

Additional readings may be suggested during the course.

Teaching methods

The course includes lectures, practical exercises, research activities, and project development. The learning experience is enriched by discussions, group reviews, and peer-to-peer exchange, and may also include guided visits, site inspections, and observations in professional, cultural, or exhibition contexts.

The design process is supported by continuous critical reflection and is developed in close synergy with the course Elements of Graphic Design T.

Attendance Requirements

A minimum attendance of 70% of the lessons in each individual module is mandatory.

Assessment methods

Ongoing Assessment

The course Graphic Communication T includes assessment moments distributed throughout the semester, aligned with the two modules that compose it.

In Module 1, assessment activities are aimed at evaluating the understanding of theoretical and critical content through active participation, text discussions, responses to assigned readings, and possible individual or group exercises.

In Module 2, evaluation focuses on the various phases of the design process, with particular attention to the coherence between analysis, concept development, visual elaboration, and quality of presentation. Intermediate reviews and a final presentation of the group project are foreseen.

Final Evaluation

The final evaluation of the integrated course Visual Communication Lab T will be unified and will take into account, in an integrated manner, the outcomes achieved in both components (Graphic Communication T and Elements of Graphic Design T) as well as the activities carried out throughout the course.

Teaching tools

Slides, selected articles and texts, handouts, references, and case studies.

Office hours

See the website of Erik Ciravegna

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