Design, Multimedia and Visual Communication

Activity type

Attività formative affini o integrative

SSD

ICAR/13

Year

1st year

Semester

1st semester

CFU

3

Hours distribution

10 classroom hours, 20 laboratory hours

Lecturers

RAISSA D'UFFIZI

Activity type

Design e comunicazioni multimediali

SSD

ICAR/13

Year

1st year

Semester

1st semester

CFU

6

Hours distribution

20 classroom hours, 40 laboratory hours

Lecturers

Daniele Capo

The Integrated Laboratory of Book Design and Typography Studio aims to provide theoretical-critical, design and technical tools to allow the student to tackle the project of complex artefacts and systems of artefacts in the field of Visual Communication based on one of its founding elements: the typography. The laboratory therefore intends to provide the tools for a conscious use of the typeface in the design of different types of artefact in the editorial field. These tools include knowledge of the anatomy of the character and the related changes in reference to historical and technological contexts; topics such as information architecture will also be explored through the correct use of typefaces, microtypography and the use of characters in an expressive key. Finally, the integrated use of typography with the other elements of graphic design will be discussed. At the end of the workshop, the student must have acquired knowledge and skills that allow the design of both a typeface and an editorial design artifact, from concept to realization, with particular attention to the printing and preparation phase of the designed product. The Laboratory consists of a "Book Design and Typography Studio" module, with a strong design component in the field of editorial design; and a module of "History of Visual Design" which aims to provide the historical and critical basis of graphic design. These skills will be verified within the project activities, through exercises, and through the final test, which will be used to verify both the progress in the production of the artifacts and the theoretical preparation starting from the reference bibliography.

BOOK DESIGN AND TYPOGRAPHY STUDIO

Specific objectives The course has the main objective of providing the student with specific knowledge in the field of Editorial Design, with particular attention to the design of a typeface and the use of typography in the editorial field. The course must therefore provide the methodological, technical and design tools for the design of a typeface and for the analysis and processing of projects in the field of Visual Communication. The course aims, through a theoretical and practical path, to provide students with the acquisition of cultural, theoretical and technical knowledge to properly design and use the typography tool, necessary for the conception and creation of graphic artefacts capable of combining the traditional component with contemporary elements. To achieve these objectives, notions will be provided relating to both the morphology of the font and the new technologies applied to the engineering of fonts, such as parametric variables and applications for motion graphics. At the end of the module, the student must have acquired theoretical-methodological and practical knowledge that allows the creation of projects of typefaces and artifacts and artifact systems in the context of Editorial Design. The verification of knowledge will also be carried out through the examination test and through exercises and ongoing tests.

Module: BOOK DESIGN AND TYPOGRAPHY
The course aims to provide a thorough understanding of the history of graphic design, examining the styles, authors and evolution of visual communication from the late 19th century to the present day, with a special focus on graphic design in Italy in the second half of the 20th century and magazines in general. Attention is given to changes in the concept of graphic design and communication by exploring different historical periods and national trends in the international scene.

Skills needed to achieve the objectives: The main objective of the module is to provide the fundamental tools of historical, critical and interpretative analysis necessary to understand the central themes of the history of graphic design and visual communication and the main movements and protagonists (1st Dublin Descriptor). These tools will be used to develop and support arguments (2nd Descriptor), which are particularly useful during exercises. The student will need to demonstrate the ability to use acquired knowledge to make independent critical judgments (3rd Descriptor), appropriately employing specific terminology to communicate critical and design thinking (4th Descriptor). In addition, he/she should be able to independently and creatively explore in depth the topics covered, dealing with the complexity of the project (5th Descriptor). In accordance with the Dublin Descriptors, the course objectives include:

- Gain knowledge and understanding of the history and major styles of graphic design;
- Know the most influential protagonists of 20th-century international design;
- Develop critical tools to interpret graphic design, considering its autonomous, dialectical or conflicting relationship with social, cultural, economic and political contexts.

Structure of learning activities: To achieve these objectives, the course is divided into lectures and analytical and in-depth activities through exercises, worksheets, readings and research, which address the various theoretical, critical and methodological issues.



Module: HISTORY OF VISUAL COMMUNICATION DESIGN
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Module: BOOK DESIGN AND TYPOGRAPHY
The course does not require any specific preliminary knowledge.


Module: HISTORY OF VISUAL COMMUNICATION DESIGN
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Module: BOOK DESIGN AND TYPOGRAPHY
The course begins with a general introduction, providing practical and organizational information, as well as outlining the main content of the program. It begins by exploring the origins of graphic design, analyzing the historical context between 1890 and 1910 in Europe, with a focus on such seminal figures as William Morris and The Studio magazine. It continues with Gustav Klimt, the magazine Ver Sacrum, and the Wiener Werkstätte movement, to Peter Behrens and the Plakatstil style. Special attention is given to the analysis and description of the magazine Die Flache. Next, the program addresses the role of propaganda and graphic design during World War I, with a focus on Germany, England, and France. It examines recruitment posters and the contribution of Italian Futurism, through figures such as Fortunato Depero, and the work of Campo Grafico. Dedicated analysis exercises follow. The course continues with a study of the avant-garde and the origin of modernism in Europe between 1914 and 1940, including movements and artists such as Alexander Rodchenko's Russian Constructivism, Herbert Bayer's Bauhaus, and Dutch De Stijl. Design influences in Switzerland and France are also explored, with authors such as Max Bill and Cassandre.
An integral part of the course are analysis exercises on reference texts and magazines. Another topic covered is British graphic design, with focus on figures such as Eric Gill and Edward Johnston, followed by an in-depth look at graphic communication in totalitarian regimes, with examples of fascist and Nazi propaganda. Italian autarkic posters and magazines such as La Rivista Illustrata del Popolo d’Italia are analyzed. The program then explores the role of art direction and graphic design in the United States in the 1930s and 1940s, focusing on the work of Raymond Loewy and Paul Rand for iconic brands such as IBM, Coca-Cola, and Vogue. Exercises include analysis of magazines such as Arts & Architecture. One section is devoted to graphic design in Italy, with a look at the Milanese style and contributions by Albe Steiner, Giovanni Pintori for Olivetti, and Max Huber. Advertising work for companies such as Pirelli and La Rinascente is examined, with exercises aimed at analyzing these communications. The course concludes with an analysis of the Italian design myth and its representation in design magazines such as Domus and Ottagono, as well as an in-depth look at corporate house-organs such as Imago and Civiltà delle macchine. Topics related to visual communication from the 1960s to the 1980s are also covered, with attention to international magazines such as Graphis and Rolling Stone, and the evolution of psychedelic style to branding and corporate design in the 1970s. The last theme explored is visual communication in the 1980s, with references to MTV and the works of Oliviero Toscani, accompanied by exercises on graphic archives such as “The People's Graphic Design Archive.”



Module: HISTORY OF VISUAL COMMUNICATION DESIGN
The course will focus on the design of typefaces from sketch to the drawing. To developa critical understanding of letterforms the course will present the evolution of the latin writing system, and typography, in relation to History, material conditions, tools and techniques that constitute the environment in which this evolution happens. Through the design practice the student will develop a critical undestanding of the subject. The aim of the course is the design of a complete set of letters and a specimen for the typeface designed, the design of a magazine cover and a little book.

Module: BOOK DESIGN AND TYPOGRAPHY
R. Hollis, (2021). Graphic Design. A Concise History. London: Thames & Hudson.



Module: HISTORY OF VISUAL COMMUNICATION DESIGN
Gerrit Noordzij, The Stroke. Theory of writing, De Buitenkant, 2019
Walter Tracy, Letters of Credit: A View of Type Design, D.R. Godine, 2003 Jost Hochuli, Detail in Typography, Éditions B42, 2015
R. Olocco, M. Patanè, Designing type revivals, LazyDog Press, 2022
C. Henestrosa, L. Meseguer, J, Scaglione, How to create typefaces. From sketch to screen, Tipo Editorial, Madrid, 2017
Robin Kinross, Modern Typography. An Essay in Critical History, Éditions B42, 2019
Paul Shaw, The Eternal Letter, MIT Press, 2015
Harry Carter, A view of early typography up to about 1600, Hyphen Press, London, 2002
Sophie Beier, Type tricks: your personal guide to type design, Amsterdam, BIS , 2017
Unger, Gerard, Theory of type design, Rotterdam: NAi/010, 2018 (ediz. italiana: Ronzani, 2020)

Module: BOOK DESIGN AND TYPOGRAPHY
Meggs, P., B. (2006). Meggs' history of graphic design. Hoboken, New Jersey: Wiley.

Eskilson, J., S. (2007). Graphic design: a new history. New Haven, Connecticut: Yale University Press.

Heller, S. & Ballance, G. (2001). Graphic design History. New York: Allworth Press.



Module: HISTORY OF VISUAL COMMUNICATION DESIGN
Gerrit Noordzij, The Stroke. Theory of writing, De Buitenkant, 2019
Walter Tracy, Letters of Credit: A View of Type Design, D.R. Godine, 2003 Jost Hochuli, Detail in Typography, Éditions B42, 2015
R. Olocco, M. Patanè, Designing type revivals, LazyDog Press, 2022
C. Henestrosa, L. Meseguer, J, Scaglione, How to create typefaces. From sketch to screen, Tipo Editorial, Madrid, 2017
Robin Kinross, Modern Typography. An Essay in Critical History, Éditions B42, 2019
Paul Shaw, The Eternal Letter, MIT Press, 2015
Harry Carter, A view of early typography up to about 1600, Hyphen Press, London, 2002
Sophie Beier, Type tricks: your personal guide to type design, Amsterdam, BIS , 2017
Unger, Gerard, Theory of type design, Rotterdam: NAi/010, 2018 (ediz. italiana: Ronzani, 2020)

Module: BOOK DESIGN AND TYPOGRAPHY
The lectures are structured as follows: an initial part devoted to frontal lecture, followed by practical exercises, reading worksheets, and research and in-depth activities on selected topics that will be presented in class. During the course, both students are expected to develop an individual research paper on a topic assigned by the lecturer.


Module: HISTORY OF VISUAL COMMUNICATION DESIGN
The Google Classroom code for this class is: srqoejz

Module: BOOK DESIGN AND TYPOGRAPHY
The course is compulsory attendance, and to take the exam one must have been present for 70% of the lectures (roll call will count).


Module: HISTORY OF VISUAL COMMUNICATION DESIGN
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Module: BOOK DESIGN AND TYPOGRAPHY
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Module: HISTORY OF VISUAL COMMUNICATION DESIGN
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Module: BOOK DESIGN AND TYPOGRAPHY
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Module: HISTORY OF VISUAL COMMUNICATION DESIGN
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Module: BOOK DESIGN AND TYPOGRAPHY
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Module: HISTORY OF VISUAL COMMUNICATION DESIGN
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