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Graphic Design and Infographics

Code: 104799 ECTS Credits: 6
2025/2026
Degree Type Year
Communication in Organisations OT 4

Contact

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

Teaching groups languages

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


Prerequisites

Basic computer skills at user level.


Objectives and Contextualisation

  1. Introduce students in the Organizational Communication program to the effective use of advanced tools for creating informative graphics and infographics as an integral part of their academic training.
  2. Enable learners to communicate visually by helping them understand and develop various types of corporate design products, infographics, and data visualizations.
  3. Promote the development of transversal skills that allow for the application of design techniques in the creation of graphic content suitable for institutional publications, marketing, and social media platforms.
  4. Familiarize students with new technologies and applications related to data visualization, including an introduction to tools such as Tableau and other graphic software packages.
  5. Provide both theoretical and practical knowledge in design applied to organizational communication, emphasizing the use of static and dynamic graphics as expressive and innovative forms in contemporary media.

Competences

  • Act within one's own area of knowledge, evaluating sex/gender-based inequalities.
  • Devise, plan and execute communication projects about the organisation on all types of media and for both internal and external audiences.
  • Differentiate the principal theories on communication in organisations, which underpin knowledge of the discipline and its different branches.
  • Establish communication objectives, and design and apply optimal strategies for communication between organisations and their employees, clients and users, and society in general.
  • Introduce changes in the methods and processes of the field of knowledge to provide innovative responses to the needs and demands of society.
  • Manage time efficiently and plan for short-, medium- and long-term tasks.
  • Search for, select and rank any type of source and document that is useful for creating messages.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  • Students must develop the necessary learning skills to undertake further training with a high degree of autonomy.
  • Work in compliance with professional codes of conduct.

Learning Outcomes

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

Content

T1. Design Process

  • Introduction to design processes in visual communication.

  • Research as the fundamental basis for developing infographics and graphic materials.

  • Analysis of audiences, markets, and communication environments.

  • Concept development and generation of visual ideas.

  • Basic theories of image and text applied to organizational contexts.

  • Planning, organizing, and executing graphic projects.

  • Design as a strategic communication tool.

T2. Fundamentals of Composition: Basic Elements

  • Primary elements of visual composition: point, line, plane, and space.

  • Definition and characterization of visual elements: texture, scale, and proportion.

  • Introduction to concepts of time and movement in design.

  • Principles of Gestalt theory applied to visual perception.

  • Visual organization: rhythm, balance, and compositional coherence.

T3. Fundamentals of Composition: Layout and Structure

  • Basic principles of layout and visual structuring.

  • Choosing size and format according to media and communication channels.

  • Use of grids and establishment of visual rules.

  • Layout styles and their application according to organizational identity.

  • Building visual rhythm and contrast within the project.

  • Graphic coordination and consistency of visual identity.

  • Integration of photography and illustration in graphic projects.

T4. Fundamentals of Typography

  • Anatomy of type and typographic classification.

  • Criteria for selecting typography based on communication context.

  • Spacing: kerning, leading, and visual proportions.

  • Readability and legibility: tools for clear communication.

  • Typographic hierarchy and emphasis within the composition.

  • Text as a graphic and expressive element.

T5. Fundamentals of Colour

  • Terminology and basic classification of colour.

  • Colour use criteria for readability, contrast, and harmony.

  • Symbolic meanings and cultural associations of colour in organizational contexts.

  • Functions of colour in conveying information and supporting visual storytelling.

A1. Technological Practice

  • Practical introduction to digital tools for design and data visualization.

  • Application of specific software (e.g., Adobe Illustrator, InDesign, Canva, Tableau, etc.).

  • Development of graphic projects adapted to real organizational contexts.

  • Practice with workflows and delivery of graphic materials according to professional standards.


Activities and Methodology

Title Hours ECTS Learning Outcomes
Type: Directed      
Laboratory practices 24 0.96 2, 4, 7, 8, 3, 12, 15
Seminars: ICT tools 9 0.36 7, 15
theory classes 15 0.6 2, 6, 8
Type: Supervised      
Follow-up tutoring 10 0.4 2, 4, 6, 7, 8, 3, 11, 10, 12
Type: Autonomous      
Data research and analysis 35 1.4 6, 8, 11
Work preparation 35 1.4 2, 1, 4, 6, 7, 8, 3, 11, 12, 15

Project work and information research:
Project-based learning is an active teaching and learning methodology developed through the completion of a project within a specific timeframe, aiming to solve a problem or complete a task. The process includes multiple phases and requires students to search for, select, and synthesize relevant information.

Lectures:
Theoretical content is presented in class through examples and practical cases in lecture sessions. These are combined with a flipped classroom approach, where students access readings (articles, chapters, digital resources, etc.) in advance, enabling them to come to class with prior knowledge. This facilitates group analysis, discussion, and the application of concepts through collaborative activities. The dynamic encourages active participation and shared knowledge-building.

Laboratory practice:
Learning design requires continuous hands-on work with specific tools—from sketchbooks used for conceptual development to miniature layouts for structuring compositions. Students will also use specialized software in computer labs for creating graphics and visual communication projects.

Seminars:
Seminars are based on cooperative work and serve to reflect on real professional scenarios. Through the presentation of briefings, case studies, and group discussions, students develop critical thinking and experiential learning to identify and propose effective solutions.

Tutorials:
Progress in acquiring design-related competencies and knowledge may vary depending on each person’s interests and academic background. For this reason, an individual tutoring plan is available to offer personalized support tailored to the diverse needs of the student body.

 

The content of the course will be sensitive to gender perspective, promoting equality and inclusion, both in the materials and examples used and in the consistent application of inclusive language that respects diversity.

The detailed session schedule will be presented on the first day of class and will also be available on the course’s Virtual Campus, where students can find teaching materials and all necessary information for effective course tracking.
If there is a change in teaching modality due to force majeure, as determined by competent authorities, the teaching staff will provide timely updates on any modifications to the course schedule and teaching methods.

 

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

Continous Assessment Activities

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

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.


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 Diseñador. www.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.


Groups and Languages

Please note that this information is provisional until 30 November 2025. You can check it through this link. To consult the language you will need to enter the CODE of the subject.

Name Group Language Semester Turn
(PLAB) Practical laboratories 71 Catalan first semester afternoon
(TE) Theory 7 Catalan first semester afternoon