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 Nicole Udry

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

Adam Saragoussi – La Soupe

by Adam Saragoussi

How can new narrative mechanics emerge in comics? La Soupe follows the surreal journey of Clarence and Ludwig in their quest toward the Nucleus of the world. Although they share the same pages, the two characters evolve within distinct parallel realities, each associated with a different printing layer. Developed as a space for narrative exploration, the project investigates the possibilities offered by the coexistence of multiple stories and multiple levels of reading within a single page. The images, combining hand-drawn elements with 3D-set designs, build a universe oscillating between science fiction and dreamlike imagery. Entirely printed in risograph, La Soupe deploys various narrative devices in which realities intersect, contaminate one another, and evolve throughout the story.

GRAPHIC DESIGN

Clara Hoya – Monumentum post inferna

by Clara Hoya

Monumentum post inferna is a tribute to the place music holds in the graphic designer's life. Since childhood, music has shaped her relationship with the world, and in her teens, black metal opened the doors to a universe whose center of gravity seemed to lie in Oslo, at a now-legendary venue: Neseblod, formerly Helvete. Behind the records and display cases lingers the enduring presence of this shop's past, which has left its mark on the history of black metal, and become a place of collective memory and pilgrimage. Book conceived as a film script, Through Monumentum post inferna presents the objects, stories, and myths that continue to echo the history of black metal within its walls, highlighting their significance and excess.

GRAPHIC DESIGN

Da Silva Romão Caroline – Ce qui nos fica

by Da Silva Romão Caroline

The book Ce qui nos fica brings together Frentuguese, a hybrid French-Portuguese language that emerged within Portuguese immigrant families in French-speaking Switzerland. Through words that were never written down but passed on orally, it captures a memory that is both collective and personal: that of a linguistic, cultural, and familial in-between. The book offers a snapshot of this language, frozen in time as it exists in 2026. What we are left with are not only these words and expressions, but also the memories of the annual journeys between Switzerland and Portugal: the long trips by car or autobus, which are, like us, suspended between two countries. Este livro reúne o frantuguês, uma língua híbrida franco-portuguesa nascida nas famílias da imigração portuguesa na Suíça (França). Através de palavras nunca escritas, mas transmitidas oralmente, ele capta uma memória ao mesmo tempo coletiva e pessoal: a de um entre-dois linguístico, cultural e familiar. A obra propõe assim uma fotografia desta linguagem, fixada no tempo, no seu estado de 2026. O que nos fica são essas palavras, mas também as memórias das viagens anuais entre a Suíça e Portugal: as longas viagens de carro ou de autocarro, que são também elas, como nós, um entre-dois países.