Papers by Francesco E. Guida
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Springer series in design and innovation, Dec 30, 2023
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IASDR 2023: Life-Changing Design
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IASDR 2023: Life-Changing Design
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Probably the most interesting materials in terms of visual communication, produced in Italy in th... more Probably the most interesting materials in terms of visual communication, produced in Italy in the context of editorial and industrial culture, belong to the period that goes from post-war reconstruction to the fast economic growth known as “economic boom”, between the Fifties and the Sixties. Rereading Made in Italy through a synthetic, yet original selection of graphic materials allows to open a window onto a phenomenon known primarily as a slogan
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In the words of Giacomarra (2005), travel and tourism are communication well before being practic... more In the words of Giacomarra (2005), travel and tourism are communication well before being practice. Over the past two centuries, travellers have changed enormously, as have the tools used to organise travel, manage it, choose methods and destinations. From travel for the privileged few to mass tourism, from travelogues to guides for well-prepared travellers up to today’s blogs, not failing to mention handy paperbacks for young people who travel the world armed with a rucksack and a smartphone, in search of better living and economic conditions on apps and social networks. Nevertheless, the clearest sign of how travel has changed is the way we have moved from ‘scenario’ communication tools to strategically structured systems: from propaganda posters to advertising, from coordinated images to branding, from road signage to digital information systems. This paper aims to offer an overview of the relationship between communication, narrative forms and travel
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Lessons to Learn? Past Design Experiences and Contemporary Design Practices. Proceedings of the ICDHS 12th International Conference on Design History and Design Studies, 2020
The great history of graphic design, both in Italy and internationally, reserves a secondary or m... more The great history of graphic design, both in Italy and internationally, reserves a secondary or minor role for women. Some publications have recently placed this question into a critical form, trying to understand the reasons for it, as well as accounting for gaps and absences. However, if we refer in particular to what we could define as the golden age of Italian graphic design — in a time span between the 1950s and the early 1970s — few female figures have emerged, and those that have, are more like exceptions rather than as a result of a contextualised and intentional historical body of research based on a different point of view when compared to the ones identified as masters and paradigmatic cases. This paper aims to underline sources, methods and criteria to be adopted to achieve a possible rewriting of history in a more inclusive way, identifying a series of lesser-known personalities who have the full right to be considered pioneers and role models.
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Back to the Future. The Future in the Past. ICDHS 10+1 Conference, 2018
The history of Italian design and graphic design is mainly Milan-centred, especially if we look a... more The history of Italian design and graphic design is mainly Milan-centred, especially if we look at the post-war period between the 1950s and the early 1970s. There is a need to reconsider the boundaries of this history, analysing other contexts and extending the list of parameters to consider. The south of Italy has never been taken into account in more general histories of the discipline, even though a number of elements may indeed be considered. Nevertheless, just a few authors dedicated some attention to what has been produced in terms of design, visual and graphic design in this area in the past. Based on the analysis of some of the design and intellectual contributions of Almerico De Angelis, the aim of this paper is to suggest a polycentric perspective to adopt in re-writing possible histories of Italian design and graphic design.
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Back to the Future. The Future in the Past. ICDHS 10+1 Conference, 2018
In 2009 AIAP, the Italian Association of graphic designers, founded the Graphic Design Documentat... more In 2009 AIAP, the Italian Association of graphic designers, founded the Graphic Design Documentation Centre (CDPG) with the aim of collecting, cataloguing, archiving, enhancing and promoting any document related to graphic design and visual communication. The activities of the Centre are focused on the documentation of graphic design culture (historical archives), research and enhancement (exhibitions and publications). AIAP wishes to promote and disseminate the culture of graphic design. Part of the activities carried out in order to attain this goal are covered by the organisation of exhibitions and the publication of books. Members of AIAP have been and still are among the best-known and skilled Italian designers. The Association, established in 1945, considers the Graphic Design Documentation Centre as a key activity, something which goes beyond a simple archive and which has, as its ultimate ambition, that of founding a graphic design museum.
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PAD. Pages on Arts and Design, Dec 2020
Great histories of design and graphic design, both in Italy and internationally, reserve a second... more Great histories of design and graphic design, both in Italy and internationally, reserve a secondary or minor role for women. Referring in particular to the so-called golden age of Italian graphic design – between the 1950s and the early 1970s – very few female figures have emerged. However, through accurate research on primary sources and original documents, it is possible to identify remarkable profiles, especially in the case of women practising independently or with their husbands, managing their businesses while playing the expected social roles.
More than just a list of names and artworks, the paper aims to demonstrate how women designers de facto broke the stereotypes of a male-dominated working field such as graphic and advertising design in post-WWII Italy.
Another purpose is to underline how thoughtful use of sources and research methods may lead to a more inclusive rewriting of design history, mentioning less known figures who have full rights to be considered pioneers and role models.
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8th International Conference on Higher Education Advances (HEAd'22)
This paper aims to present and discuss how the teaching of visual identity and experience design ... more This paper aims to present and discuss how the teaching of visual identity and experience design in Communication Design education may be developed within a speculative design framework. By assuming this approach, students can experience the ethics of design practice and explore alternative design values, forms, and representations. They can acquire the idea of design as a problem-seeking and problem-finding practice, and that encourages the development of concepts, scenarios and results without any predetermined function. The development of each project is based on the principle of learning by doing, which consists of tinkering, making mistakes and trying over and over again to improve the results and acquire competencies and skills. By the analysis of selected students’ work, tested design process and implications of an anti-disciplinary approach, the aim is to inquire how such framing may both highlight the critical issues of conservative methods and the benefits of non-regulator...
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Libro de Actas - Systems & Design: Beyond Processes and Thinking (IFDP - SD2016), 2016
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Angelica e Bradamante. Le donne del design, 2017
Questo contributo restituisce una sintesi dei dati raccolti attraverso un’indagine
sull’attuale c... more Questo contributo restituisce una sintesi dei dati raccolti attraverso un’indagine
sull’attuale condizione e ruolo della donna nell’ambito delle professioni del design in
Italia. Oggi è indiscutibile che le donne rappresentino una percentuale alta della forza
lavoro. Ma, quanto alta nel mondo del design? E soprattutto, quanto si sono evoluti i
modelli culturali, le relazioni professionali, la capacità di contrastare stereotipi o forme
di disuguaglianza e discriminazione di genere nel contesto sociale e lavorativo italiano?
Così nell’ambito delle attività preparatorie al convegno “A/B/D/ Angelica e
Bradamante. Le donne del design”, nate in seno ad AIS/Design, si è pensato di esplorare
il campo sottoponendo a un questionario la popolazione femminile dei progettistidesigner,
per comprendere come si compone, e dare un quadro d’insieme attraverso
la raccolta di dati riferiti alla condizione professionale delle donne che sono attive in
varie forme nel campo del design......
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The communication design field it is considerably changed in the last 20 years and more as well a... more The communication design field it is considerably changed in the last 20 years and more as well as the role of the designer. Technology has modified the daily work tools, and new possible relations between the designer, the commitment, and the final user can be underlined.
Observing some of the most experimental practices, new visual languages have drawn the attention, affected by innovative approaches and mixed competencies. The area of visual identities is especially of interest, not excluding other areas of experimentations.
The phenomenon of the so-called dynamic or post-logo identities underlined the possibilities of using more fluid and expressive, variable, context related, processual, performative, non-linear, consistent visual languages instead of the usual and static repetition of a logo or an imposed series of rules (Felsing, 2010). However, also their contradictions in making recognizable an organization and in the visual identity daily management.
An interesting evolution to be underlined is in the use of the digital tools, not anymore in a passive way but in an active way. Visual designers can build their digital tools basing them on design and esthetic needs. The designer is not anymore just the user of ready-made digital tools, becoming himself programmer of customized digital toolboxes by using open source codes or hardware like Arduino. Not just a DIY attitude but something that it is changing the control knobs of a design system in all its process and development.
As far as technology support is relevant, technical matters are relegated in the background on behalf of abstraction and data parametrization that means on behalf of a meta-design level. The use of programming in creative and visual communication design processes “empowers the designer, freeing he from the constraints of predefined computational tools, and promoting creative freedom in the construction of visual metaphors” (Duro, Machado, Rebelo, 2012). The aim of this paper is to argue this recent evolution in the field of visual identities and the wider area of communication design practices.
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A wayfinding system is a structured system of signs that has the aim to inform and orientate user... more A wayfinding system is a structured system of signs that has the aim to inform and orientate users in specific areas. A site becomes accessible to users through such kind of systems. Wayfinding helps to communicate and make clear functions, paths and becomes a true interface between a place and the users. Signals can have a stronger role in terms of visual language in making evidence to a place’s identity.
Enhancing it at the same time. Using Christian Norberg-Schulz words, a user is able to orientate him self in a site when the experience of that place is for him comprehensible.
Usually a wayfinding system is designed as a closed and forced system, superimposed to a place’s surfaces or spaces. But there are places that need a specific design concept to be adaptable to users needs, that change over time. Or to be adaptable to the place’s needs, that change physically over time.
Through an experimental project has been possible to set up an open wayfinding system for a parkland particularly used by free-climbers. A climbing area is a site where people can exercise their passion in rock free climbing and spend time outdoor. The site called Falesia di Calusco d’Adda - in the neighbourhood of Milan – is known for have inspired the background view of Leonardo da Vinci masterpiece “Gioconda (Mona Lisa)”. The site is visited and used from enthusiastic free climbers, who use to personalize and naming climbing ways all around the site.
This context inspired a design concept for an open system of signs and typography.
The concept is based on a set of elements and rules to be downloaded through a web site to implement information and orientation around the site. The specific web site has the aim to make accesible all the useful instructions and downloadable documents. The system is based on a set of pictograms and a personalized stencil font (the Calusco Font), to be reproduced on wood or stone, depending on the users’ needs. The all visual design has been inspired by primitive signs and adapted to the need to reproduce it on different kind of surfaces using ecologic paint-spray.
All the design has been conceived to be easy to use from everybody, with a low budget and by making just a restricted numbers of operations. In this way the outdoor site can be enhanced by the community of users, that is engaged and participate himself to the process. The designer is not anymore just the author of a closed visual system, but of an open user-oriented process and accept the possibility that the community uses the elements in a freely way. This responding to an actual trend of engaging communities in the design and in the application of a designed system.
The aim of this paper is to present this experimental project, describing his design process and discuss some of the above mentioned topics.
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C. Soddu & E. Colabella (Eds.), "GA2014 - Proceedings of XVII Generative Art Conference", Dec 2014
In the communication design field, main applications of a generative approach are for information... more In the communication design field, main applications of a generative approach are for information graphics and flexible visual identities. Looking to recent practices we can observe cases of visual identities – that can be defined as dynamic or post-logo – that present a completely opposite approach compared to the traditional production in the field of corporate image. The use of visual languages that are more fluid and expressive, variable, context related, processual, performative, non-linear, consistent are now preferred to the usual and static repetition of a logo or an imposed series of rules. The classical structure of corporate identity – a subject representation through a series of primary and subsidiary visual elements which has in the manual his book of rules – is reactivated by the use of meta-design tools and processes that can be compared to the transition from closed to open systems.
Galanter affirmed that generative art refers to any practice where an artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art. This definition emphasizes the artist proactive role in the definition of rules or guidelines that allow the production of multiple solutions consistently to the framework. This is the same in the generative design practices, that look to be something more than just a generation Y passion.
In generative design practices, the user of computer and ready-made digital tools (professional softwares) becomes the programmer of personalized digital toolboxes – often developed by using Processing, VVVV or java-script codes –. This approach deeply changes the design process and the perspective of practitioners, introducing the idea of a new craftsmanship. Technical issues remain in the background, abstraction and data parameters come into the foreground. This new scenario in the creative and design process empowers the designer, freeing he from the constraints of predefined computational tools, and promoting creative freedom in the construction of visual metaphors.
The aim of this paper is to argue this recent evolution in the field of visual identities and in the wider area of communication design practice. by showing a series of case histories as well as presenting the results of some experimental projects.
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C. Gambardella (ed.), "Best practices in heritage conservation and management. From the world to Pompeii", proceeding of the international conference "Le vie dei Mercanti. XII Forum internazionale di studi"., Jun 2014
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Rebel Matters - Radical Patterns, 2013
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Papers by Francesco E. Guida
More than just a list of names and artworks, the paper aims to demonstrate how women designers de facto broke the stereotypes of a male-dominated working field such as graphic and advertising design in post-WWII Italy.
Another purpose is to underline how thoughtful use of sources and research methods may lead to a more inclusive rewriting of design history, mentioning less known figures who have full rights to be considered pioneers and role models.
sull’attuale condizione e ruolo della donna nell’ambito delle professioni del design in
Italia. Oggi è indiscutibile che le donne rappresentino una percentuale alta della forza
lavoro. Ma, quanto alta nel mondo del design? E soprattutto, quanto si sono evoluti i
modelli culturali, le relazioni professionali, la capacità di contrastare stereotipi o forme
di disuguaglianza e discriminazione di genere nel contesto sociale e lavorativo italiano?
Così nell’ambito delle attività preparatorie al convegno “A/B/D/ Angelica e
Bradamante. Le donne del design”, nate in seno ad AIS/Design, si è pensato di esplorare
il campo sottoponendo a un questionario la popolazione femminile dei progettistidesigner,
per comprendere come si compone, e dare un quadro d’insieme attraverso
la raccolta di dati riferiti alla condizione professionale delle donne che sono attive in
varie forme nel campo del design......
Observing some of the most experimental practices, new visual languages have drawn the attention, affected by innovative approaches and mixed competencies. The area of visual identities is especially of interest, not excluding other areas of experimentations.
The phenomenon of the so-called dynamic or post-logo identities underlined the possibilities of using more fluid and expressive, variable, context related, processual, performative, non-linear, consistent visual languages instead of the usual and static repetition of a logo or an imposed series of rules (Felsing, 2010). However, also their contradictions in making recognizable an organization and in the visual identity daily management.
An interesting evolution to be underlined is in the use of the digital tools, not anymore in a passive way but in an active way. Visual designers can build their digital tools basing them on design and esthetic needs. The designer is not anymore just the user of ready-made digital tools, becoming himself programmer of customized digital toolboxes by using open source codes or hardware like Arduino. Not just a DIY attitude but something that it is changing the control knobs of a design system in all its process and development.
As far as technology support is relevant, technical matters are relegated in the background on behalf of abstraction and data parametrization that means on behalf of a meta-design level. The use of programming in creative and visual communication design processes “empowers the designer, freeing he from the constraints of predefined computational tools, and promoting creative freedom in the construction of visual metaphors” (Duro, Machado, Rebelo, 2012). The aim of this paper is to argue this recent evolution in the field of visual identities and the wider area of communication design practices.
Enhancing it at the same time. Using Christian Norberg-Schulz words, a user is able to orientate him self in a site when the experience of that place is for him comprehensible.
Usually a wayfinding system is designed as a closed and forced system, superimposed to a place’s surfaces or spaces. But there are places that need a specific design concept to be adaptable to users needs, that change over time. Or to be adaptable to the place’s needs, that change physically over time.
Through an experimental project has been possible to set up an open wayfinding system for a parkland particularly used by free-climbers. A climbing area is a site where people can exercise their passion in rock free climbing and spend time outdoor. The site called Falesia di Calusco d’Adda - in the neighbourhood of Milan – is known for have inspired the background view of Leonardo da Vinci masterpiece “Gioconda (Mona Lisa)”. The site is visited and used from enthusiastic free climbers, who use to personalize and naming climbing ways all around the site.
This context inspired a design concept for an open system of signs and typography.
The concept is based on a set of elements and rules to be downloaded through a web site to implement information and orientation around the site. The specific web site has the aim to make accesible all the useful instructions and downloadable documents. The system is based on a set of pictograms and a personalized stencil font (the Calusco Font), to be reproduced on wood or stone, depending on the users’ needs. The all visual design has been inspired by primitive signs and adapted to the need to reproduce it on different kind of surfaces using ecologic paint-spray.
All the design has been conceived to be easy to use from everybody, with a low budget and by making just a restricted numbers of operations. In this way the outdoor site can be enhanced by the community of users, that is engaged and participate himself to the process. The designer is not anymore just the author of a closed visual system, but of an open user-oriented process and accept the possibility that the community uses the elements in a freely way. This responding to an actual trend of engaging communities in the design and in the application of a designed system.
The aim of this paper is to present this experimental project, describing his design process and discuss some of the above mentioned topics.
Galanter affirmed that generative art refers to any practice where an artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art. This definition emphasizes the artist proactive role in the definition of rules or guidelines that allow the production of multiple solutions consistently to the framework. This is the same in the generative design practices, that look to be something more than just a generation Y passion.
In generative design practices, the user of computer and ready-made digital tools (professional softwares) becomes the programmer of personalized digital toolboxes – often developed by using Processing, VVVV or java-script codes –. This approach deeply changes the design process and the perspective of practitioners, introducing the idea of a new craftsmanship. Technical issues remain in the background, abstraction and data parameters come into the foreground. This new scenario in the creative and design process empowers the designer, freeing he from the constraints of predefined computational tools, and promoting creative freedom in the construction of visual metaphors.
The aim of this paper is to argue this recent evolution in the field of visual identities and in the wider area of communication design practice. by showing a series of case histories as well as presenting the results of some experimental projects.
More than just a list of names and artworks, the paper aims to demonstrate how women designers de facto broke the stereotypes of a male-dominated working field such as graphic and advertising design in post-WWII Italy.
Another purpose is to underline how thoughtful use of sources and research methods may lead to a more inclusive rewriting of design history, mentioning less known figures who have full rights to be considered pioneers and role models.
sull’attuale condizione e ruolo della donna nell’ambito delle professioni del design in
Italia. Oggi è indiscutibile che le donne rappresentino una percentuale alta della forza
lavoro. Ma, quanto alta nel mondo del design? E soprattutto, quanto si sono evoluti i
modelli culturali, le relazioni professionali, la capacità di contrastare stereotipi o forme
di disuguaglianza e discriminazione di genere nel contesto sociale e lavorativo italiano?
Così nell’ambito delle attività preparatorie al convegno “A/B/D/ Angelica e
Bradamante. Le donne del design”, nate in seno ad AIS/Design, si è pensato di esplorare
il campo sottoponendo a un questionario la popolazione femminile dei progettistidesigner,
per comprendere come si compone, e dare un quadro d’insieme attraverso
la raccolta di dati riferiti alla condizione professionale delle donne che sono attive in
varie forme nel campo del design......
Observing some of the most experimental practices, new visual languages have drawn the attention, affected by innovative approaches and mixed competencies. The area of visual identities is especially of interest, not excluding other areas of experimentations.
The phenomenon of the so-called dynamic or post-logo identities underlined the possibilities of using more fluid and expressive, variable, context related, processual, performative, non-linear, consistent visual languages instead of the usual and static repetition of a logo or an imposed series of rules (Felsing, 2010). However, also their contradictions in making recognizable an organization and in the visual identity daily management.
An interesting evolution to be underlined is in the use of the digital tools, not anymore in a passive way but in an active way. Visual designers can build their digital tools basing them on design and esthetic needs. The designer is not anymore just the user of ready-made digital tools, becoming himself programmer of customized digital toolboxes by using open source codes or hardware like Arduino. Not just a DIY attitude but something that it is changing the control knobs of a design system in all its process and development.
As far as technology support is relevant, technical matters are relegated in the background on behalf of abstraction and data parametrization that means on behalf of a meta-design level. The use of programming in creative and visual communication design processes “empowers the designer, freeing he from the constraints of predefined computational tools, and promoting creative freedom in the construction of visual metaphors” (Duro, Machado, Rebelo, 2012). The aim of this paper is to argue this recent evolution in the field of visual identities and the wider area of communication design practices.
Enhancing it at the same time. Using Christian Norberg-Schulz words, a user is able to orientate him self in a site when the experience of that place is for him comprehensible.
Usually a wayfinding system is designed as a closed and forced system, superimposed to a place’s surfaces or spaces. But there are places that need a specific design concept to be adaptable to users needs, that change over time. Or to be adaptable to the place’s needs, that change physically over time.
Through an experimental project has been possible to set up an open wayfinding system for a parkland particularly used by free-climbers. A climbing area is a site where people can exercise their passion in rock free climbing and spend time outdoor. The site called Falesia di Calusco d’Adda - in the neighbourhood of Milan – is known for have inspired the background view of Leonardo da Vinci masterpiece “Gioconda (Mona Lisa)”. The site is visited and used from enthusiastic free climbers, who use to personalize and naming climbing ways all around the site.
This context inspired a design concept for an open system of signs and typography.
The concept is based on a set of elements and rules to be downloaded through a web site to implement information and orientation around the site. The specific web site has the aim to make accesible all the useful instructions and downloadable documents. The system is based on a set of pictograms and a personalized stencil font (the Calusco Font), to be reproduced on wood or stone, depending on the users’ needs. The all visual design has been inspired by primitive signs and adapted to the need to reproduce it on different kind of surfaces using ecologic paint-spray.
All the design has been conceived to be easy to use from everybody, with a low budget and by making just a restricted numbers of operations. In this way the outdoor site can be enhanced by the community of users, that is engaged and participate himself to the process. The designer is not anymore just the author of a closed visual system, but of an open user-oriented process and accept the possibility that the community uses the elements in a freely way. This responding to an actual trend of engaging communities in the design and in the application of a designed system.
The aim of this paper is to present this experimental project, describing his design process and discuss some of the above mentioned topics.
Galanter affirmed that generative art refers to any practice where an artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art. This definition emphasizes the artist proactive role in the definition of rules or guidelines that allow the production of multiple solutions consistently to the framework. This is the same in the generative design practices, that look to be something more than just a generation Y passion.
In generative design practices, the user of computer and ready-made digital tools (professional softwares) becomes the programmer of personalized digital toolboxes – often developed by using Processing, VVVV or java-script codes –. This approach deeply changes the design process and the perspective of practitioners, introducing the idea of a new craftsmanship. Technical issues remain in the background, abstraction and data parameters come into the foreground. This new scenario in the creative and design process empowers the designer, freeing he from the constraints of predefined computational tools, and promoting creative freedom in the construction of visual metaphors.
The aim of this paper is to argue this recent evolution in the field of visual identities and in the wider area of communication design practice. by showing a series of case histories as well as presenting the results of some experimental projects.
The archive holds records of Ilio Negri (Milan, 1926-1974) professional activities in the fields of graphic design, visual communication and industrial design, which took place from 1946 to 1974. Documents include sketches, working drawings, photolithography proof, original logos, billboards, brochures, catalogs, books and calendars made with various techniques. The materials are stored in 12 drawers each of 70 x 100 cm.
The archive, largely organized, is the result of a donation by the heirs and direct acquisitions by the CDPG / Aiap.
The signs that inhabit the surfaces of the projects designed by Gourdin & Müller of Leipzig create an ongoing dialogue with the architecture.
For natural environments, it can also become a planning tool.
Paths on a territory emphasize it and safeguard it. It is important to keep a good level of information along with respect for a natural context.
The design system of "contact points" helps in building the global image, guaranteeing to the users a high degree of handiness.
PAD dedicated the year 2020 entirely to women, their creativity and design action. The focus of issue 18, entitled “The Women’s Making”, was on the maker culture and its meanings. In this issue 19, the attention shifts to the field of Communication Design. The intention is to continue investigating the design contributions and views, expressions and cultural and political positions of women. We believe that the present issue can contribute to the international debate and widen its boundaries. The title of this second consecutive issue dedicated to women’s design intentionally quotes the text edited by M. Antonietta Trasforini, Arte a parte (2000). A collection of contributions that in its title wanted to highlight the marginality and omissions made against women artists in art history. This metaphor of the marginal place (“apart”) emphasises the “centre” partiality, that is to say of those who wrote history until now. This centrality of historical studies and its importance emerges in this issue of PAD, in which half of the essays have a historical approach.
Authors: F. E. Guida, L. Bollini, A. Facchetti, S. Melis, D. Murgia, C. Ureta Marín, M. Chilet Bustamante, M. Moretti, A. Bosco, S. Gasparotto, M. Lengua, E. Scotucci, A. Vendetti, A. Andrade, L. Défayes, E. Groves, N. Henchoz, D. Ribes, M. Salzmann, A. Schneider, I. Ruggeri, G. Sinni, A. Pollini, M. Zannoni, D. Casciani, A. Vandi, C. S. Galasso, A. Dutkowska-Zuk.