This article examines Bruno Munari’s contribution to visual communication, with a particular focus on his approach to graphic design and the graphic-visual language. The aim is to highlight how Munari redefined the processes of visual design by developing a method which, moving beyond a purely aesthetic perspective, integrates formal rigour, expressive synthesis and perceptual experimentation through a ‘structural’ exploration of how meaning is conveyed through images. The methodology adopted is based on a critical analysis of Munari’s major graphic works, enriched by theoretical references to semiotics, Gestalt theory and visual pedagogy. Through the examination of case studies –from the illegible books to editorial design and graphic experimentation for children– the study reveals the process by which Munari constructs an autonomous visual syntax, in which the graphic sign becomes a self-sufficient communication system. The purpose of this study is to demonstrate how Munari’s graphic thinking anticipated and influenced concepts that are now central to contemporary design and visual communication. His ability to transform illustration, typography and editorial graphics into tools for cultural and cognitive reflection makes him a key reference point in contemporary design, not only as a practitioner, but also as a theorist of a new visual grammar capable of transcending traditional conventions to create a universal, essential and immediate graphic language.
L’articolo analizza il contributo di Bruno Munari alla comunicazione visiva, con particolare attenzione al suo approccio alla grafica e al linguaggio grafico-visivo. L’obiettivo è evidenziare come Munari abbia ridefinito i processi di progettazione visiva, sviluppando un metodo che, superata una visione esclusivamente estetica, integra rigore formale, sintesi espressiva e sperimentazione percettiva grazie a un’indagine “strutturale” sulle modalità di trasmissione del significato mediante le immagini. La metodologia adottata si basa su un’analisi critica delle principali opere grafiche di Munari, integrando riferimenti teorici legati alla semiotica, alla Gestalt e alla pedagogia visiva. Attraverso l’esame di casi studio – dai “libri illeggibili” alla progettazione editoriale, fino alle sperimentazioni grafiche per l’infanzia – si evidenzia il processo con cui Munari costruisce una sintassi visiva autonoma, in cui il segno grafico diventa un sistema di comunicazione autosufficiente. La finalità dello studio è dimostrare come il pensiero grafico di Munari abbia anticipato e influenzato concetti oggi centrali nel design e nella comunicazione visiva. La sua capacità di trasformare l’illustrazione, la tipografia e la grafica editoriale in strumenti di riflessione culturale e cognitiva ne fanno dunque un punto di riferimento per la progettazione contemporanea anche come teorico di una nuova grammatica visiva, capace di superare le convenzioni tradizionali per creare un linguaggio grafico universale, essenziale e immediato.
Bruno Munari: comunicare attraverso la grafica / Bruno Munari: Communicating through Graphic Language
Barbara Messina;
2025
Abstract
This article examines Bruno Munari’s contribution to visual communication, with a particular focus on his approach to graphic design and the graphic-visual language. The aim is to highlight how Munari redefined the processes of visual design by developing a method which, moving beyond a purely aesthetic perspective, integrates formal rigour, expressive synthesis and perceptual experimentation through a ‘structural’ exploration of how meaning is conveyed through images. The methodology adopted is based on a critical analysis of Munari’s major graphic works, enriched by theoretical references to semiotics, Gestalt theory and visual pedagogy. Through the examination of case studies –from the illegible books to editorial design and graphic experimentation for children– the study reveals the process by which Munari constructs an autonomous visual syntax, in which the graphic sign becomes a self-sufficient communication system. The purpose of this study is to demonstrate how Munari’s graphic thinking anticipated and influenced concepts that are now central to contemporary design and visual communication. His ability to transform illustration, typography and editorial graphics into tools for cultural and cognitive reflection makes him a key reference point in contemporary design, not only as a practitioner, but also as a theorist of a new visual grammar capable of transcending traditional conventions to create a universal, essential and immediate graphic language.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.