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 courses that make up the integrated programme Visual Communication Lab T, together with Graphic Communication T.

The lab is designed to develop cross-disciplinary skills in communication design through a unified educational path 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.

Elements of Graphic Design T

The course is oriented toward understanding and experimenting with the fundamental principles of graphic design through the use of visual and operational tools.

It is structured as a module aimed at providing the conceptual, perceptual, and compositional foundations necessary to interpret and critically and consciously use digital tools.

Elements of Graphic Design T addresses the foundational principles of graphic language, with particular attention to typography, colour theory, visual perception, and the relationship between form and content.

Techniques and tools for the design of both static and dynamic artefacts are explored, with applications across a variety of formats and media (print/editorial, digital/multimedia).

The module includes theoretical and practical activities aimed at understanding the core logics behind the main tools of graphic design.

Professional software is introduced as an applied tool, with the goal of fostering a critical, conscious, and design-oriented use.

Topics covered include:

• typographic composition and layout,

• the structure of the visual field and the organisation of graphic space,

• colour usage and chromatic relationships,

• perception according to Gestalt principles,

• raster and vector image management,

• preparation of print-ready and digital-output files,

• graphic adaptation to various formats and media: editorial design, social media, promotional materials, posters, brochures, and exhibition panels.

In addition to targeted exercises focused on specific course content, the final part of the module involves the development of a more articulated editorial artefact, designed to integrate and apply the skills acquired during the course. This artefact will document the design process developed for the course Graphic Communication T.

Expected Learning Outcomes

By the end of the course, students will:

• acquire knowledge related to typography, graphic composition, colour, and visual perception;

• learn to design two-dimensional graphic artefacts for both analogue and digital media;

• develop critical awareness of visual choices in relation to content, context, and medium;

• experiment with tools and techniques for executive design and file preparation for print and digital publication.

Integration with Graphic Communication T

The course is closely integrated with Graphic Communication T, which provides its theoretical-critical and methodological-design complement.

The acquisition of skills and tools necessary for the development of effective and coherent visual artefacts is reflected in the design process carried out in the other course, with which themes, objectives, and integrated approaches are shared.

The design process developed in Graphic Communication T will be translated into an editorial project produced as part of Elements of Graphic Design T.

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 [https://series.francoangeli.it/index.php/oa/catalog/book/1204%22%20/t%20%22_blank]

• 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 [https://series.francoangeli.it/index.php/oa/catalog/book/825%22%20/t%20%22_blank]

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 [https://series.francoangeli.it/index.php/oa/catalog/book/993%22%20/t%20%22_blank]

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

The course is conducted in close connection with Graphic Communication T, with which it shares objectives, themes, and outputs.

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 a group-based design project.

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 Sara Ceradini