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Graphic Design and Infographics

Code: 104799
Credits: 6
2026/2027
Degree programme Type Course
Communication in Organisations OP 4

Contact lecturer

Name :
Guillem Marca Frances
Email :
guillem.marca@uab.cat

Group languages

You can consult this information at the end of the document.

Prerequisites

Basic computer skills at user level.

Objectives

This course aims to introduce students in the Organisational Communication degree programme to the foundations of design as applied to visual communication, as an integral part of their academic training.

  1. To develop students' capacity to conceive and produce effective visual communication pieces that are coherent with corporate identity and adapted to the different contexts and formats of organisational communication.
  2. To provide an in-depth theoretical and practical grounding in the principles of graphic design —typography, colour, composition and visual hierarchy— as applied to the production of institutional and strategic communication materials.
  3. To promote the development of transversal design competencies that enable students to integrate aesthetic and functional criteria in the creation of graphic content for institutional publications, marketing campaigns and digital platforms.
  4. To foster a critical perspective on design as a communicative practice, capable of generating meaning, structuring messages and reinforcing the visual identity of organisations across contemporary media.


Learning outcomes

  1. Work independently to solve problems and take strategic decisions on the basis of the knowledge acquired.
  2. Find what is substantial and relevant in documents within the subject.
  3. Plan and execute graphics and computer graphics projects as a basis for work.
  4. Display knowledge of the aesthetic, technical and communicative environment in order to develop an original graphics idea through critical thinking, and generate practical ideas on modern design and computer graphics.
  5. Communicate aesthetically pleasing and practical ideas on behalf of an organisation, which all kinds of target audiences can understand, enjoy and respond to emotionally.
  6. Identify the design, computer graphics and publication of the various media, regarding the social impact of the different types of documents.
  7. Establish objectives for communication through design.
  8. Apply the most suitable design and computer graphics strategies for an organisation to communicate with its internal or external clients, by organising visuals and public relations products that help to get messages across.
  9. Carry out activities on demand, such as announcing events, creating a general image or reporting on a company's news or products.
  10. Conceive, plan and execute communication projects about an organisation's design and computer graphics on all types of media, for a particular target audience.
  11. Submit high-quality coursework on time, which requires attention to both individual and group work.
  12. Apply design and computer graphics techniques, taking professional standards into account.
  13. Propose projects and actions that incorporate the gender perspective.
  14. Communicate using language that is not sexist or discriminatory.
  15. Identify situations in which a change or improvement is needed.

Contents

T1. Design Process

  • Introduction to design processes in visual communication.
  • Research as a fundamental basis for the development of graphic materials and visual communication pieces.
  • Analysis of audiences, markets and communicative environments.
  • Conceptual development and generation of visual ideas.
  • Basic theories of image and text applied to the organisational context.
  • Planning, organisation and execution of graphic projects.
  • Design as a strategic communication tool.

T2. Foundations of Composition: Basic Elements

  • Primary elements of visual composition: point, line, plane and space.
  • Definition and characterisation of visual elements: texture, scale and proportion.
  • Introduction to the notions of time and movement in design.
  • Principles of Gestalt theory applied to visual perception.
  • Visual organisation: rhythm, balance and compositional coherence.

T3. Foundations of Composition: Layout and Grid

  • Basic principles of layout and visual structuring.
  • Selection of size and format according to media and communication channels.
  • Use of the grid and establishment of visual rules.
  • Layout styles and their application according to organisational identity.
  • Construction of visual rhythm and contrast within the project.
  • Graphic coordination and visual identity coherence.
  • Integration of photography and illustration in graphic projects.

T4. Foundations of Typography

  • Letterform anatomy and typographic classification.
  • Criteria for typographic selection according to the communicative context.
  • Spacing: letter-spacing, leading and visual proportions.
  • Readability and legibility: tools for clear and effective communication.
  • Typographic hierarchy and emphasis within the composition.
  • Text as a graphic and expressive element.

T5. Foundations of Colour

  • Basic colour terminology and classification.
  • Criteria for the use of colour in terms of legibility, contrast and visual harmony.
  • Symbolic meanings and associations of colour in cultural and organisational contexts.
  • Functions of colour in information transmission and support of visual narrative.

A1. Applied Practice

  • Practical introduction to digital tools for design and data visualisation.
  • Application of specific software in the development of graphic projects.
  • Development of graphic projects adapted to real organisational contexts.
  • Practice of professional workflows and delivery of graphic pieces in accordance with professional requirements.


Learning activities and methodology

Title Hours ECTS Learning outcomes
Work preparation 35 1.4 1, 3, 4, 5, 6, 7, 8, 9, 10, 12
Seminars: ICT tools 9 0.36 1, 4
Laboratory practices 24 0.96 1, 3, 4, 5, 7, 8, 9
Data research and analysis 35 1.4 6, 7, 10
theory classes 15 0.6 7, 8, 10
Follow-up tutoring 10 0.4 3, 4, 5, 6, 7, 8, 9, 10, 15

Assignment Development and Information Retrieval

Project-based learning is an active teaching and learning methodology developed through the completion of a project within a defined period, with the aim of solving a problem or completing a task. The process involves several phases and requires students to search for, select and synthesise relevant information.

Lectures

Theoretical content is presented in the classroom through examples and case studies in lecture sessions. These are combined with a flipped classroom methodology, in which students access reading materials in advance —articles, chapters, digital resources, among others— and arrive at the session with prior knowledge that facilitates collective analysis, debate and the application of concepts in collaborative activities. This dynamic encourages active participation and the shared construction of knowledge.

Laboratory Practicals

Learning design requires sustained practice with specific tools: from the sketchbook for conceptualisation to the creation of thumbnails for structuring layouts. Students will also work with specialist software in the computer laboratories for the development of graphics and visual projects.

Seminars

Seminars are based on cooperative work to reflect on real situations from the professional sector. Through the presentation of briefings, case analysis and the debate of ideas, critical participation, shared reasoning and the acquisition of meaningful learning through experience are encouraged.

Tutorial Sessions

Progress in competencies and knowledge may vary according to each student's interests and prior background. For this reason, an individualised tutorial plan is established, offering personalised support and guidance adapted to the diverse realities and needs of the student body.

The course content incorporates a cross-cutting gender perspective, promoting equality and inclusion both in the examples and materials used and through the systematic use of inclusive and diversity-sensitive language.

The detailed session timetable will be presented on the first day of class and will be available on the Virtual Campus, where teaching materials and all the information necessary for following the course can also be consulted.

In the event of a change in teaching modality due to force majeure, in accordance with the instructions of the competent authorities, the teaching staff will promptly communicate any changes to the course schedule and teaching methodology.


Annotation: within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Assessment

Continuous assessment activities

Title Weight Hours ECTS Learning outcomes
Delivery of jobs 30% 6 0.24 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15
Laboratory practices 50% 12 0.48 1, 3, 4, 5
Theory test 15% 2 0.08 4
Follow-up tutoring 5% 2 0.08 1, 3, 4, 5, 6

The course can be passed through a continuous assessment (CA) system. The theoretical exam will be written. The assessment components are as follows:

  • Activity A: Laboratory practice (50% of the final grade).
  • Activity B: Theoretical knowledge test (15% of the final grade).
  • Activity C: Submission of assignments (30% of the final grade).
  • Activity D: Participation in follow-up tutorials (5% of the final grade).

To pass the course, it is essential to submit all tasks included in Activities A and C, and obtain a minimum grade of 4 out of 10 in each to be considered in the average.

Students have the right to a resit assessment, provided they have been assessed in activities that account for at least two-thirds of the total course grade.

Activities A, B, and C with a failing grade (between 0 and 4.99) are recoverable. The teaching staff will define the specific resit procedure depending on each case.

Activity D, due to its participatory and follow-up nature, is not subject to resit.

In the case of a resit, the final grade for the resat activity will be calculated based on a weighted average including the original grade.

Attendance to laboratory practice sessions is mandatory. Unjustified absence will result in a grade of 0 for that activity.


Plagiarism: If any student commits an irregularity that could significantly affect the grade of any assessment activity, the activity will be graded with a 0, regardless of any disciplinary action that may follow. If multiple irregularities occur within the same course, the final grade for the course will be 0.


The use of Artificial Intelligence (AI) tools is permitted in this course as part of assignment development, as long as the final outcome clearly reflects a personal and significant contribution from the student in terms of analysis and critical reflection.

Students must:

  • Clearly identify which parts have been generated using AI tools.
  • Specify the tools used.
  • Include a critical reflection on how these technologies have influenced the process and the final result of the task.

Lack of transparency in AI use will be considered a breach of academic integrity, and may result in a grade penalty or, in serious cases, further disciplinary measures.

Synthesis test

The assessment of students in their second or subsequent examination sittings will be carried out through a synthesis test covering the same contents and activities as the ordinary assessment, concentrated within a set period of time, in which students must demonstrate their achievement of the course competences.

"Not assessable" grade

When it is considered that a student has been unable to provide sufficient assessment evidence, this course will be graded as "Not assessable". It will be deemed that sufficient assessment evidence has not been provided when the student has failed to submit more than two of the planned assessment activities. In this case, the grade recorded in the official report will be "Not assessable", which will not count as a used examination sitting.

Irregularities in assessment tasks

Committing any irregularity in an assessment task (academic fraud, plagiarism or improper use of AI, unless such use is expressly authorised in the course guide) that may lead to a significant variation in the grade will result in that task being graded with a 0. If the course guide establishes that passing the course requires obtaining a minimum grade in that assessment task, or if several irregularities occur in the assessment tasks of the same course, the final grade for the course will be 0. Notwithstanding the above, disciplinary proceedings may be initiated against any student who commits one of these irregularities.

Bibliography

Adams, Sean. (2017). The Designer’s Dictionary of Color. Abrams.
Ambrose, Gavin, & Harris, Paul. (2011). Basics Design 02: Layout (2ª ed.). AVA Publishing.
Beier, Sofie. (2012). Reading Letters: Designing for Legibility. BIS Publishers.
Budelmann, Kevin, Kim, Yang, & Wozniak, Curt. (2010). Brand Identity Essentials: 100 Principles for Designing Logos and Building Brands. Rockport Publishers.
Coles, Stephen. (2012). The Anatomy of Type. Harper Design.
Dabner, David, Calvert, Sandra, & Casey, Abbie. (2010). Graphic Design School: The Principles and Practices of Graphic Design. Quarto Inc.
Davis, Meredith. (2012). Graphic Design Theory. Thames and Hudson.
Dondis, Donis A. (1995). La sintaxis de la imagen. Gustavo Gili.
Edwards, Betty. (2004). Color: A Course of Mastering the Art of Mixing Colors. Penguin.
Evans, Peter, & Sheri, Anne. (2014). The Graphic Design Reference & Specification Book.Rockport Publishers.
Freeman, Katie. (2018). Interactive Graphics: Engaging Audiences in Design. UX Books.
García, Ana.(2020). Color & Emotion: The Psychology behind Palette Choices. Universidad Creativa Press.
Graver, Amy, & Jura, Ben. (2012). Best Practices for Graphic Designers: Grids and Page Layouts. Rockport Publishers.
Henderson, Kathryn, et al. (2012). Typography, Referenced: A Comprehensive Visual Guide to the Language, History, and Practice of Typography. Rockport Publishers.
Heller, Steven, & Vienne, Véronique. (2015). Becoming a Graphic & Digital Designer: A Guide to Careers in Design. John Wiley & Sons.
Hernández, Raúl. (2017). Diseño Editorial: Técnicas y Tendencias. Editorial Comunicación.
Ibrahim, Sara. (2023). Digital Branding for Women Entrepreneurs. BrandLab.
Janda, Michael. (2013). Burn Your Portfolio: Stuff They Don’t Teach You in Design School, But Should. Pearson Education.
Johnson, Emily. (2016). Inclusive Design: Accessibilityin Graphics. Design Ethics Publishing.
Kaufmann, Stefan. (2015). User Experience Typography. TypoUX Press.
Labudovic, Ana, & Vukusic, Nikola. (2009). Field Guide: How to be a Graphic Designer.
Landa, Robin. (2018). Graphic Design Solutions. Cengage Learning.
Lawson, Bryan. (2005). How Designers Think. Elsevier.
Lee, Terry. (2006). Color Design Workbook: A Real‑World Guide to Using Color in Graphic Design. Rockport Publishers.
Leech, Joe. (2016). Psychology for Designers: A Pocket Guide. Mrjoe Press.
Lidwell, William, Holden, Kritina, & Butler, Jill. (2014). Universal Principles of Design. Rockport Publishers.
López, Carla. (2020). Más que un Logo: Estrategias de Marca. Editorial Empresarial.
Lupton, Ellen. (2010). Thinking with Type: A Critical Guide for Designers, Writers, Editors, Students. Princeton Architectural Press.
Lupton, Ellen. (2011). Reading and Writing. Princeton Architectural Press.
Lupton, Ellen. (2014). Type on Screen. Princeton Architectural Press.
Lupton, Ellen, & Cole, Jennifer. (2015). Graphic Design, the New Basics. Princeton Architectural Press.
Marín, Paula. (2022). Diseño Sostenible: Ética y Estética. Editorial Verde.
Millman, Debbie. (2007). How to Think Like a Great Graphic Designer. Allworth Press.
Morley, Mark. (2016). The Fundamentals of Graphic Design. Bloomsbury Visual Arts.
Niederst, Jennifer. (2018). Learning Web Design. O’Reilly Media, Inc.
Núñez, Francisco. (2019). Infografías para la Educación. Ediciones Visuales.
Opara, Eddie, & Cantwell, John. (2010). Color Works: Best Practices for Graphic Designers. Rockport Publishers.
Pipes, Alan. (2009). Production for Graphic Designers. Laurence King Publishing.
Poulin, Richard. (2011). The Language of Graphic Design.Rockport Publishers.
Quintana, Diego. (2021). Gestión del Proceso Creativo. Creativa Editorial.
Remiers Design. (2011). Pequeño Diccionario del Diseñadorwww.bocetosgraficos.com.ar
Roberts, Lucienne. (2019). Good: An Introduction to Ethics in Graphic Design. AVA Publishing.
Samara, Timothy. (2005). Making and Breaking the Grid. Quarto Knows.
Shaughnessy, Adrian. (2010). How to Be a Graphic Designer Without Losing Your Soul. Princeton Architectural Press.
Sherwin, David. (2010). Creative Workshop. HOW Books.
Skaggs, Steven. (2017). FireSigns: A Semiotic Theory for Graphic Design. MIT Press.
Skolos, Nancy, & Wedell, Thomas. (2011). Graphic Design Process. Laurence King Publishing.
Tondreau, Beth. (2009). Layout Essentials. Rockport Publishers.
Valdés, Gustavo. (2012). De la“Alfabetidad Visual” a la Semiótica. Centro de Estudios en Diseño y Comunicación.
Walter, Aaron. (2011). Designing for Emotion. A Book Apart.
Wang, Shaoqiang. (2017). Infografía: Diseño y visualización de la información. Promopress.

Software

For the correct follow up of the course we will use the following software available at the Faculty:

  • Affinity: Photo, Publisher and Designer
  • Davinci Resolve
  • Excel
  • Word
  • Powwerpoint
  • Flourish
  • Tableau

Proprietary programs and online tools may be used.

Course groups and languages

The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE

Type of teaching Group Language Semester Shift
(TE) Theory 7 Catalan first semester afternoon
(PLAB) Practical laboratories 71 Catalan first semester afternoon