Image Culture II

Teaching staff

Mª Àngels Fortea

Mª Àngels Fortea

PhD in Design by Fine Arts Faculty of the UB. BA in Advertising and Public Relations. Membre of the Foundation's History of Design FHD.

PhD in Design from the Faculty of Fine Arts at the UB. Bachelor’s degree in Advertising and Public Relations from the UAB. Mª Àngels lectures at BAU, Design College of Barcelona, in the Graphic Design and Visual Communication area and specialises in the History of Design.

Fact sheet

Formal qualifications: Bachelor's Degree in Design

Credits: 6

Semester: 1

Course: Third

Typology: Elective Graphic Design

Code subject: GDVG83


1. General objectives. Description of the course

  • A tour through the creators and movements that form the history of visual communication.
  • The intersection of visual communication with other disciplines: architecture, industrial design, cinema, photography, etc.

The main objective of the course is to resume the tour through the history of graphic design from the 60s, through postmodernism and its language, to end at the present day with a look at Contemporary Graphics. With this last tour, students will have gained the following:

  • 1.1. A complete view of the Culture of the Image which can later be enriched and delved deeper into, day-to-day, when they are surrounded by visual communication in their capacity as professional designers.
  • 1.2. The ability to apply to design work their knowledge of Contemporary Graphics.



The decade of the 60's and the pop culture

  • 1. Pop Culture and Pop Art.
  • 2. American graphic expression: Herb Lubalin, Push Pin Studios, Chermayeff & Geismar.
  • 3. Europe: rationality versus graphic expression. English graphics (the origin of the Pentagram), new Dutch design (Wim Crouwell and Total Design).

Late 60’s: Revolution, psychedelia and undeground culture

  • 4. France: May 68 and the graphics of protest. The Grapus collective.
  • 5. San Francisco: the Hippie movement, drugs and psychedelic art.
  • 6. Cuba: the poster in the service of Revolution (1959).

The 70's: Post-modern speech

  • 7. Introduction to post-modern speech. The precursors of the Swiss school and New Wave typography (Wolfgang Weingart).
  • 8. Great Britain: the counterculture. The punk movement (Jamie Reid).

The decade of the 80's

  • 9. Great Britain. From the analogue to the digital language: Neville Brody. Alternatives to the international style: Peter Saville, Terry Jones.
  • 10. The retro design: Paula Scher and the Pentagram team (NY).

The decade of the 90's: Digital Revolution and experimentation

  • 11. From digital language to paper: John Maeda.
  • 12. The social role of graphic design: Tibor Kalman and the Colors magazine.
  • 13. Design and experimentation: Stefan Sagmeister.
  • 14. Different views of typographic design: Erik Spiekermann, Suzana Licko.
  • 15. Different views of editorial design: David Carson, Irma Boom.

The twentieh century. Contemporary graphics

  • 16. A look at the (international and national) professionals used as graphic design references.



  • Students acknowledge the historical sources of graphic design from the 60’s (Pop) until the present day (Contemporary Graphics).
  • They know exactly how to differentiate the various graphic styles developed from the 60’s onwards, especially the language of post-modernism.
  • They understand the influence of the styles developed in the early Twentieth Century, on the graphics of the second half of the century and the current style, and they incorporate them into their projects.
  • They display the ability to analyse issues from a global and comprehensive perspective by appropriately referencing social, cultural, economic and political factors.



  • SS1. Critical analysis and evaluation of the consequences and implications of proposals raised in design projects, both the student’s own and those of others, and their adjustment to suit the social, economic, political and cultural context.
  • SS2. Integration of knowledge and approaches related to cultural, artistic and historical references in design, to practical design projects in creative and innovative ways.
  • SS4. Apply appropriate methodologies and varied research according to the subject matter, both for knowledge management and for formal experimentation and production that meets academic and professional standards.



  • Observation of participation
  • Monitoring of the work produced
  • Reports from students and tutors
  • Realisation of works or projects
  • Other:
    • Presentation and oral defence of the work produced