Graphic design builds the visual world in which we live, it communicates messages in the simplest and most effective way possible with the function of indicating, informing, remembering. Even in cinematographic language, the visual communication artifacts appear, such as brands, typographic compositions, illustrations, patterns or simple freehand writing. They are called graphic props, a part of the set-pieces. The art department, which includes the graphic designer, handles with the design of these elements and communicates directly with the director and other departments.

This research intends to investigate the role of visual design, shared between the graphic designer and the film director. Ten films have been identified that have significant traces of visual communication; from the analysis carried out emerges that, in respect to their function, there are different ways to insert graphic elements inside the opera. The artifacts contextualize, bring meaning, clarity and uniqueness to the filmic oeuvre. With a rhetorical function they varies the narrative sense of the images going beyond their meaning. In some cases they are so essential that they even become "characters" of the story.

Graphic design builds the visual world in which we live, it communicates messages in the simplest and most effective way possible with the function of indicating, informing, remembering. Even in cinematographic language, the visual communication artifacts appear, such as brands, typographic compositions, illustrations, patterns or simple freehand writing. They are called graphic props, a part of the set-pieces. The art department, which includes the graphic designer, handles with the design of these elements and communicates directly with the director and other departments.

This research intends to investigate the role of visual design, shared between the graphic designer and the film director. Ten films have been identified that have significant traces of visual communication; from the analysis carried out emerges that, in respect to their function, there are different ways to insert graphic elements inside the opera. The artifacts contextualize, bring meaning, clarity and uniqueness to the filmic oeuvre. With a rhetorical function they varies the narrative sense of the images going beyond their meaning. In some cases they are so essential that they even become "characters" of the story.

Graphic design builds the visual world in which we live, it communicates messages in the simplest and most effective way possible with the function of indicating, informing, remembering. Even in cinematographic language, the visual communication artifacts appear, such as brands, typographic compositions, illustrations, patterns or simple freehand writing. They are called graphic props, a part of the set-pieces. The art department, which includes the graphic designer, handles with the design of these elements and communicates directly with the director and other departments.

This research intends to investigate the role of visual design, shared between the graphic designer and the film director. Ten films have been identified that have significant traces of visual communication; from the analysis carried out emerges that, in respect to their function, there are different ways to insert graphic elements inside the opera. The artifacts contextualize, bring meaning, clarity and uniqueness to the filmic oeuvre. With a rhetorical function they varies the narrative sense of the images going beyond their meaning. In some cases they are so essential that they even become "characters" of the story.

Graphic design builds the visual world in which we live, it communicates messages in the simplest and most effective way possible with the function of indicating, informing, remembering. Even in cinematographic language, the visual communication artifacts appear, such as brands, typographic compositions, illustrations, patterns or simple freehand writing. They are called graphic props, a part of the set-pieces. The art department, which includes the graphic designer, handles with the design of these elements and communicates directly with the director and other departments.

This research intends to investigate the role of visual design, shared between the graphic designer and the film director. Ten films have been identified that have significant traces of visual communication; from the analysis carried out emerges that, in respect to their function, there are different ways to insert graphic elements inside the opera. The artifacts contextualize, bring meaning, clarity and uniqueness to the filmic oeuvre. With a rhetorical function they varies the narrative sense of the images going beyond their meaning. In some cases they are so essential that they even become "characters" of the story.

Graphic design builds the visual world in which we live, it communicates messages in the simplest and most effective way possible with the function of indicating, informing, remembering. Even in cinematographic language, the visual communication artifacts appear, such as brands, typographic compositions, illustrations, patterns or simple freehand writing. They are called graphic props, a part of the set-pieces. The art department, which includes the graphic designer, handles with the design of these elements and communicates directly with the director and other departments.

This research intends to investigate the role of visual design, shared between the graphic designer and the film director. Ten films have been identified that have significant traces of visual communication; from the analysis carried out emerges that, in respect to their function, there are different ways to insert graphic elements inside the opera. The artifacts contextualize, bring meaning, clarity and uniqueness to the filmic oeuvre. With a rhetorical function they varies the narrative sense of the images going beyond their meaning. In some cases they are so essential that they even become "characters" of the story.