Bachelor
Graphic Design

GRAPHIC DESIGN

Type Design - BA1 S2 2025-2026

with Robert Huber

The creation of a logotype involves establishing a distinct visual identity, embedded in a clearly defined universe. First-year Graphic Design students designed a fully hand-drawn logotype, connected to a subject, a concept, or an environment of their own choice. This work was based on thorough research in typographic archives. Each student compiled a reference notebook and developed a set of specimens, in order to enrich and structure their graphic and formal thinking.

GRAPHIC DESIGN

Image Creation - Mirrored Motifs (ECAL × Chillon) - BA1 2025-2026

with Guy Meldem

As part of the ECAL x Chillon exhibition, which will take place at the eponymous castle, the students of the Bachelor in Graphic Design have created patterns inspired by the castle’s features. Under the supervision of Guy Meldem, they developed a variety of graphic systems. These patterns will be printed as hangings in the armory hall of Chillon Castle.

GRAPHIC DESIGN

Editorial Design – BA2 S2 2026

with Diego Bontognali

As part of this editorial design course, students developed a research-based project focused on the selection and design of texts around a shared theme. Based on a curated set of sources, each project presents two editions with identical content, produced in both a large and a small format.

GRAPHIC DESIGN

Contextual Design – BA2 S2 2026

with Adeline Mollard

Genius Loci, or the spirit of the place, refers to the unique identity or essence of a location. In architecture, this principle suggests that the specific characteristics of a place should be reflected and extended in a design. In the case of the second-year graphic design students, they have applied this principle to communication projects focused on promoting or extending the identity of a particular place through design. Their work likely explores how to visually capture and communicate the essence of a space, using graphic design elements that resonate with the architectural features or history of the place.

GRAPHIC DESIGN

Type Design BA3 – S1 25–26

with Aurèle Sack

The third-year students had to develop a typeface and digitize it.

GRAPHIC DESIGN

Image Creation BA3 – S1 25–26

with Guy Meldem

Third-year students had to produce an edition over half a semester, discovering as their subject an event that appeared in the newspaper on the date of the first lesson.

GRAPHIC DESIGN

Editorial Design BA3 – S1 25–26

with Jonathan Hares

Third-year students had to produce an edition over half a semester, discovering as their subject an event that appeared in the newspaper on the date of the first lesson.

GRAPHIC DESIGN

Visual Identity BA3 – S1 25–26

with Gilles Gavillet

Through the lens of visual identity, this project explores issues related to graphic language and art direction. Each stage of the project examines a different aspect of visual identity development: research, concept, visual language, design, and communication.

GRAPHIC DESIGN

MEDIA & INTERACTION DESIGN

A Matter of Frames - Workshop avec Vera van de Seyp

by Malik Ahmed, Alexander Anhorn, Melissa Appelon, Marc Auderset, Olivia Bindon, Baptiste Boulanger, Suriya Brambilla, Diego Buccelloni, Marta Casemi, Davia Ciccoli Trannoy, Alizée Clavien, Timoféi Cruz, Ethan Degano, Nora Dizeko, Andrea Domínguez Formet, Mathias Dugenne, Mathias Gelin, Tanguy Genier, Lila Gomez Gaillet, Juliana Granato, Xenia Grange, Bérangère Gremion, Helena Hell, Rocio Hernandez, Salomé Huwiler, Rebecca Indermühle, Kevin Jeangros, Nolan Latorre, Jose Pardo Pariente, Zachary Ramelet, Gabrielle Richard, Théo Rizzo, Alessia Rollini, Malcolm Semedo Barreto, Anastassia Siebold, Philippe Strässle Zuniga, Baptiste Sultana, Luna Tavernier, Margaux Tinguely

Traduire le mouvement en matière

GRAPHIC DESIGN

Rationality/Expressivness - Carnal Verona Workshop

with Yanis Carnal, Raphaël Verona

The Swiss style, also known as the International Style, established itself as the symbol of a radical approach to graphic design and typography. It embodies an ideal of efficiency and rationality. Omnipresent more than half a century after its emergence, does it still hold the same relevance today? What is its influence on our imaginations and our practice? Doesn't Switzerland have other facets through which to communicate, and what new graphic and typographic languages ​​could represent them?

GRAPHIC DESIGN

Workshop NORM - A Shape in a Shape

with Dimitri Bruni (NORM), Manuel Krebs (NORM)

How can graphic design be promoted by demonstrating its fundamentals? Led by the studio NORM for first-year students, this workshop aims to highlight ECAL’s Graphic Design programme through the didactic lens of elementary instruction. Each day, students were assigned a global theme (A – Words, B – Images, C – Graphics, D – Drawings), along with a series of simple questions. By combining this input, they produced three collaborative double-sided posters, intended to be offset-printed for ECAL’s Open Days. Each poster features its own duotone combination and folds into a booklet. This project emphasizes how the combinatory potential of simple elements can become a powerful tool in graphic design, while underlining the importance of process in creation.

GRAPHIC DESIGN

MEDIA & INTERACTION DESIGN

PHOTOGRAPHY

SYNC SCREEN

with Charlotte Krieger, Jean-Vincent Simonet, Florian Pittet (Sigmasix), Vincent Jacquier, Julien Gurtner, Matthieu Minguet, Cédric Duchêne, EPFL+ECAL Lab, Giacomo Bastianelli

For a week, the first-year visual communications students worked on an installation consisting of 15 screens, accompanied by a 360° sound system developed by EPFL+ECAL Lab. This chandelier, five metres in diameter and suspended from a height of three metres, served as a support for their experiments. Using music specially composed and spatialised for the occasion, the students explored the dynamics of sound both visually and in movement.

GRAPHIC DESIGN

Retinaa workshop

by Candice Aepli, Amélie Bertholet, Coraline Beyeler, Delphine Brantschen, Léa Corin, Matteo Cortesi, Mathilde Driebold, Eliot Dubi, Marc Facchinetti, Emilie Müller, Dorian Pangallo, Paul Paturel, Hugo Scholl, Diego Steiner, Cyprien Valenza, Alfredo Venti, Arnaud Wenger, Constance Mauler, Flora Hayoz, Lidia Molina González, Vladislav Tschumi

During this week, the students had to create Obi Strip, a strip of paper surrounding the cover of a vinyl. A visible layer representing the world of their vinyl and an invisible layer creating a security raster. The result was screen-printed, using visible ink and UV ink for the security design.

GRAPHIC DESIGN

Colour Typologies

by Candice Aepli, Amélie Bertholet, Coraline Beyeler, Delphine Brantschen, Léa Corin, Matteo Cortesi, Mathilde Driebold, Eliot Dubi, Marc Facchinetti, Emilie Müller, Dorian Pangallo, Paul Paturel, Hugo Scholl, Diego Steiner, Cyprien Valenza, Alfredo Venti, Arnaud Wenger, Constance Mauler, Flora Hayoz, Lidia Molina González, Vladislav Tschumi

Workshop Atelier Brenda During this week, the students created posters based on Ken Nordine's music album "Color".

GRAPHIC DESIGN

Eliot Dubi – JUST IN CASE

by Eliot Dubi

At the individual level, we can neither predict nor prevent the next disaster; we can only arm ourselves with the right reflexes to face it. JUST IN CASE is a website that gathers, through four scenarios — large wildfires, dam failures, industrial accidents and earthquakes — the key actions to remember when everything turns upside down. A clear tree-like navigation, concise texts and flat-style illustrations keep learning accessible without resorting to sensationalism. A triptych of posters promotes the site to the wider public. Designed for a generation flooded with anxiety-fuelled alerts, the project turns worry into simple, immediate actions — just in case.

GRAPHIC DESIGN

Paul Paturel – Modulat – 2025 #2

by Paul Paturel

Grime Index is an interactive VJ-ing project that centralizes, visualizes, and enables navigation through iconic moments of grime — a chaotic genre born on London’s pirate airwaves. By turning audio data into visual identity and live signage, the project makes a performance-based, oral, and improvised culture more readable. Designed for both newcomers and longtime fans, it is built around three interchangeable modules — MC, instrumental, and lyrics — honoring the culture of sampling, MCing, and mixing. Diarization, transcription, dynamic typography, and real-time effects combine to reveal grime’s living and navigable memory.

GRAPHIC DESIGN

Hugo Scholl – Modulat – 2025

by Hugo Scholl

MODULAT is a variable typeface designed around the concept of a musical visualizer. Starting from a neutral design, it branches out into multiple character sets, each allowing adaptation to different graphic and sonic worlds. Its variation axes enable it to adjust to a wide range of display formats, making it suitable for use across various digital platforms. Conceived as a modular tool, it questions how a typeface can accompany music while maintaining visual coherence. The project combines formal experimentation with a search for graphic adaptability.

GRAPHIC DESIGN

Alfredo Venti – Points de rencontre/Treffpunkte

by Alfredo Venti

Points de rencontre/Treffpunkte is an inclusive graphic system designed to make sociocultural resources more visible and accessible to people facing linguistic isolation, or to anyone seeking to join a social network. Inspired by educational tools used with non-native speakers, it combines pictograms, color coding, visual keywords, and modular signage. Installed at the entrances of community centers through interchangeable panels, and complemented by poster campaigns (print and web), it brings these structures into public view for those looking for a service, a network, or simply a welcoming place. https://pointsderencontre-treffpunkte.ch/

GRAPHIC DESIGN

Emilie Müller – Librarynth

by Emilie Müller

It is good to believe that the library is resilient. Not as a relic of the past, but as a presence that reinvents itself, oscillating between the tangible and the intangible. It's not a question of denying the digital, nor of clinging to our yellowed pages. But to understand that if we accept the library as a moving space, an organism that mutates with the times, then its future may not be so bleak. My diploma is a non-linear immersive library, conceived as a virtual house. Each piece evokes one of six themes from the Jan Michalski Foundation's Varia collection. In the form of a web interface, the project celebrates the serendipity inherent in physical libraries, while questioning how digital technology can translate the book experience.