73465 - Graphic Communcation T (A-K)

Learning outcomes

At the end of the course unit, the student is able to apply the full range of techniques and processes acquired in the Elements of Graphic Design T course unit 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 course units that make up the integrated course Visual Communication Lab T, together with Elements of Graphic Design 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.

The lab may be included in cultural initiatives developed in collaboration with local organisations.

Graphic Communication T

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

Module 1

In the first part of the course, the module focuses on the theoretical and critical exploration of communication, with particular attention to its languages and to the historical, technological and ethical aspects that characterise its evolution.

The module may employ a range of teaching methods, including lectures, text analysis, guest lectures, flipped classroom activities and collective discussions, with the aim of introducing some of the main theoretical and cultural perspectives on communication design.

Module 2

In the second part of the course, the module focuses on methodologies and strategies for managing communication design projects. Teaching activities are primarily laboratory-based and collaborative, and are centred on group design work and the development of a coherent system of communication artefacts.

The main phases of the design process are addressed, including briefing and debriefing activities, the research and selection of cultural and design references, the ideation and development of the concept, the 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 course includes discussions, collective reviews and interim presentations.

The project may be developed in collaboration with external organisations, including associations, companies and institutions.

Final Project

The project, developed in Module 2, will be carried out in groups of four to five students.

The work begins with a theme that serves as the main reference for the development of the project. Each group will explore and interpret this theme from a specific critical perspective.

The expected outcome is a system of artefacts designed to inform and raise awareness about the chosen theme. Each group will therefore be required to define its own perspective and translate it into a coherent communication proposal.

The project will include the design of a portable narrative exhibition format, developed within a limited space, and the creation of a coordinated analogue and digital visual system intended to communicate and disseminate the project.

Integration with Elements of Graphic Design T

The course unit is developed in connection with Elements of Graphic Design T. The two course units jointly contribute to the integrated development of cultural, methodological, technical and operational skills in the field of visual communication.

Expected Outcomes

At the end of the course, students will:

• develop analytical and interpretative skills for understanding visual communication phenomena;
• be able to define a communication design project through its different phases, applying a coherent methodology and paying attention to the context and to the needs of both clients and the intended audiences of the designed artefacts;
• develop critical and ethical awareness of 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 visits, 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 Elements of Graphic Design T course.

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 activitites 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 articulation, and quality of presentation. Intermediate reviews and a final presentation of the group project are included.

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 courses units (Graphic Communication T and Elements of Graphic Design T) as well as the activities carried out throughout the semester.

Teaching tools

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

Office hours

See the website of Erik Ciravegna

See the website of Fabiana Ielacqua