73464 - Graphic Elements T (A-K)

Learning outcomes

By the end of the course, the student is able to interpret contemporary visual communication phenomena and techniques through the use of basic methodological tools.

The student also possesses foundational knowledge of typographic composition, specifically concerning: geometry as language; the visual field; sign systems; and the design of two-dimensional artefacts.

In addition, the student has acquired essential knowledge of colour theory, typeface selection, and page layout, as well as the skills needed to apply what has been learned to a communication artefact.

Course contents

Visual Communication Lab T

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

The lab aims to develop cross-disciplinary skills in communication design through a unified programme that integrates theoretical reflection, cultural perspectives, design methodology and technical experimentation, providing a comprehensive education in the field of visual communication.

Elements of Graphic Design T

The course unit is oriented towards consolidating and applying the graphic design knowledge already acquired during the first year of the Degree Programme, with particular attention to its integration within more complex design processes.

The course explores methods, tools and procedures for defining and producing coherent visual artefacts and systems, considering the relationship between content, languages, formal choices and technical requirements.

Activities may address:

• typographic composition and the organisation of visual hierarchies;

• the structuring of the graphic field and the use of grids and layouts;

• the use of colour and images in relation to content and communication objectives;

• the integrated management of raster and vector images;

• the development and adaptation of visual systems for different formats, media and supports, both analogue and digital;

• the preparation and technical control of artefacts for print and digital publication;

• the informed use of digital tools in relation to the different phases of the design process.

The course unit includes lectures, exercises, workshop activities and review sessions aimed at consolidating the ability to translate communication and design intentions into effective, coherent and technically appropriate visual solutions.

Integration with Graphic Communication T

The activities of Elements of Graphic Design T are oriented towards consolidating and applying the technical graphic design skills required for the development of the communication project.

The course unit operates in close connection with Graphic Communication T, supporting the definition, production and adaptation of visual artefacts through exercises and design activities consistent with the overall learning pathway of the lab.

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.

• Benjamin, W. (2010). I «passages» di Parigi (R. Tiedemann, a cura di; contributi di E. Ganni). Einaudi.

• 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. (2021). Graphic Design in the Twentieth Century: A Concise History (3rd ed.). Thames & Hudson.

• Meggs, P. B. (1998). A History of Graphic Design. John Wiley & Sons.

• Poynor, R. (2013). No More Rules: Graphic Design and Postmodernism. Laurence King.

• Vinti, C. (2024). La grafica italiana del ’900. Giunti Editore.

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. (2005). Tipografia moderna. Saggio di storia critica (G. Lussu, trad.). 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. (2009). Grid Systems in Graphic Design / Raster Systeme für die visuelle Gestaltung: A Visual Communication Manual for Graphic Designers, Typographers and Three-Dimensional Designers. Niggli.

• Munari, B. (1968). Design e comunicazione visiva. Laterza.

• Zannoni, M. (2024). Il design delle interfacce. Quodlibet.

Teaching methods

The course includes lectures, technical demonstrations, practical exercises, and workshop-based activities. The learning process is enriched by reviews, collective discussions, and interim presentations.

The course unit is conducted in close connection with Graphic Communication T, supporting the development and refinement of the visual artefacts included in the overall learning pathway of the lab.

Attendance Requirements

A minimum attendance of 70% of the lessons is mandatory.

Given the nature of the activities and the teaching methods adopted, participation in this course requires all students to have previously completed Module 1 and Module 2 of the safety training programme, delivered in e-learning mode.

Assessment methods

Ongoing Assessment

Elements of Graphic Design T includes ongoing assessment through individual exercises, project reviews, and the development of design activities and project work.

Evaluation criteria include visual effectiveness, technical accuracy, design coherence, and the ability to provide critical reasoning.

Final Evaluation

The final evaluation of the integrated course Visual Communication Lab T will be unified and will incorporate the results achieved in both components (Elements of Graphic Design T and Graphic Communication T).

Although each course includes independent assessment moments, the final grade will be assigned as a single evaluation for the entire Visual Communication Lab T.

The final mark will reflect an integrated assessment of the outcomes and activities carried out across both courses.

Teaching tools

Slides, handouts, and tutorials supporting workshop activities.

Office hours

See the website of Federica Francia