Dissertations / Theses: 'Art / Graphic Design'

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VELASCO, MATEU. "WHEN STREET ART BECOMES GRAPHIC DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24699@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O objetivo deste trabalho é fazer uma análise da influência e uso do design gráfico em alguns dos projetos desenvolvidos no movimento de arte urbana dos últimos dez anos. Este estudo possibilitou gerar material de pesquisa sobre a arte urbana para futuros trabalhos que conectem arte de rua e o design gráfico, assim como identificar como estes artistas incorporam conceitos do design em seus projetos. A partir deste levantamento foi possível observar ainda de que forma esta prática contribuiu para a propagação do movimento artístico e vice versa. Para que a proposta do estudo fosse alcançada foi feito um levantamento histórico das origens do movimento artístico urbano e uma pesquisa de campo para compreender o estágio atual da arte de rua. Foi ainda realizado um estudo de caso do cartaz criado por Shepard Fairey para a campanha presidencial dos Estados Unidos para exemplificar uma das formas em que o design gráfico dialoga estreitamente com a street art, confirmando assim a conexão entre ambas as práticas.
The objective of this study is to analyze the influence and use of graphic design in some of the projects developed in the urban art movement of the last ten years.This study enabled us to generate research material on urban art for future studies that connect street art and graphic design, as well as identify how these artists incorporate design concepts in their designs. From this survey it was also possible to observe how this practice has contributed to the spread of the artistic movement and vice versa. For that the purpose of the study was achieved was made a historical survey of the origins of the urban art movement and field research to understand the current state of street art. It also conducted a case study of a poster created by Shepard Fairey for the U.S. presidential campaign to illustrate one of the ways in which graphic design dialogues closely with street art, thus confirming the connection between both practices.

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Hansen, Bret. "Graphic Design as Projection." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2117.

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I imagined a world where designing is projecting and where the entire design field is called projection. My research into what it means to be a projector culminates in a participatory creative project that embodies concepts of projection taken from a range of disparate subjects.

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Monnier, Antoinette. "The interrelationship of graphic design and fine art /." Online version of thesis, 1995. http://hdl.handle.net/1850/11969.

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CARDOSO, FERNANDA DE ABREU. "VERNACULAR GRAPHIC DESIGN: ART OF THE LETTER PAINTERS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4201@1.

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Esta pesquisa pretende analisar a produção de material gráfico produzido pelas classes populares, o que é aqui denominado Design Gráfico Vernacular. O objetivo do trabalho é analisar este fenômeno através de pesquisa teórica, entrevistas, observações e análise gráfica do objeto em questão considerando o contexto social em que surge esse tipo de produção, o que a define, assim como o uso desses objetos. O objeto de estudo consiste em um conjunto de letreiros formado por três categorias de negócios de prestação de serviços, sendo eles: bares, restaurantes e lanchonetes; cabeleireiros e chaveiros, registrados na cidade do Rio de Janeiro. A partir da observação e análise do conjunto de letreiros confeccionados artesanalmente por profissionais especializados, os letristas, o trabalho busca também verificar a existência de uma linguagem própria desse tipo de produção. A pesquisa parte do princípio de que instâncias de legitimação provenientes de grupos sociais distintos, impõem valores e critérios de julgamento que afetam a produção de um campo de produção de bens simbólicos como o design. A importância desta pesquisa reside no fato de que a produção do design gráfico vernacular, mesmo caracterizando uma produção artesanal em uma sociedade pós-industrial, ainda é uma prática comum em todo o país. Esse tipo de produção convive com a produção do design gráfico culto dentro de uma mesma sociedade, porém ambos os campos de produção se formam para atender as necessidades de grupos sociais distintos.
This dissertation intends to analyse the production of graphical material proceeding from popular social groups, which is herein named Graphic Vernacular Design. The focus of the work is to analyse this phenomenon through theoretical research, surveys, observation and graphical analyses of the object at issue, observing the social context in which that production arises, what defines it and the use of such objects. The object of study is based on a set of signs featured by three categories of business and services, such as: bars, restaurants and snack-bars; hairdressers and locksmiths registered in the city of Rio de Janeiro. From the observation and analysis of a handmade set of signs made by skilled professionals in that area of production, the so-called letter painters, this piece of work also investigates the existence of a particular language in that kind of production. The research takes as principle the fact that legitimation instances proceeding from different social groups impose values and rules of judgement which affect the production of a field of production of symbolic goods as occurs with the design. The importance of this study is based on the fact that the production of graphic vernacular design, even though characterizing a handmade production in a post- industrial society is still a regular practice in the country. That kind of production lives together with the production of cultured graphic design inside the same society: however, both fields of production are formed to attend the needs of distinct social groups.

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Houston, Sarah L. "Douglas Coupland text as art /." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04172008-214133/.

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Thesis (M.A.)--Georgia State University, 2008.
Title from file title page. Susan Richmond, committee chair; Maria Gindhart , Glenn Gunhouse, committee members. Electronic text (102 p. : col. ill.) : digital, PDF file. Description based on contents viewed July 24, 2008. Includes bibliographical references (p. 100-102).

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Lee, Mindy. "A graphic design curriculum development project." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1569031.

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Examining the design education climate of Los Angeles results in finding a broken art education system and misconceived notions about graphic design. The struggle to implement design education into the lives of high school students leads to some students who have access to art classes with an emphasis on technical digital art and some students who have never taken an art or design class. This project is the work of bringing design education to students in the Los Angeles area. This design curriculum was created to promote creative process, problem solving, play and experimentation, and a deeper understanding of the use of graphic design as a communication tool. This curriculum was implemented at the High School Institutes at Inner-City Arts, a nonprofit that provides free arts education to thousands of youth in Los Angeles.

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Gaydos, Benjamin. "[ethno]graphic design." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/98.

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Visual communication is a part of everyone's daily existence. It is a ubiquitous mode that shapes not only the environment that individuals inhabit, but the very identity of the individual. Graphic designers, who create the vast majority of the visual communication encountered, play a crucial role in the production of cultural identity. It is a necessity that designers understand that role, as agents of cultural production.[ethno]graphic design is an ever-evolving approach to graphic design which utilizes anthropological methods in the creative process. This document presents a collection of projects which take an anthropological approach to the design process, utilizing techniques developed by cultural anthropologists to aid the design process primarily ethnographic fieldwork, participant observation, collaboration, multivocal representation and reflexivity.

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Wenzel, George C. "Experimental graphic design : Lester Beall/SITE /." Online version of thesis, 1989. http://hdl.handle.net/1850/11468.

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VonSchneden, Franz-Jacques A. T. "What, why, where, when : design, art, time, language and symbols /." View abstract, 1998. http://library.ctstateu.edu/ccsu%5Ftheses/1554.html.

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Thesis (M.S.) -- Central Connecticut State University, 1998.
Thesis advisor: Susan G. Vial "...in partial fulfillment of the requirements for the degree of Master of Science [in Art]." Includes bibliographical references (leaves 45-62).

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Lee, Dong Hyun. "Effective use of negative space in graphic design /." Online version of thesis, 2007. http://hdl.handle.net/1850/4625.

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Kuo, Shih-Ping. "Graphic Design Students' Development of Adaptive Expertise in Ideation Strategies." Thesis, Purdue University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10843121.

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This exploratory study uses the convergent design of mixed methods to integrate adaptive expertise theory to study how individual student participant from graphic design or non-graphic-design majors to solve a novel ideation problem in graphic design. Adaptive expertise includes six dimensions: metacognition, flexibility, dynamic knowledge, ability to welcome challenges, efficiency and deep understanding of the domain knowledge, and multiple perspectives. Those are desired qualities for a learner to stand out in the global market that are constantly changing with complex challenges. Thirty undergraduate students participated in this study. This study aims to answer four questions: types of graphic design tool and strategies selection and reasoning, similarities and differences among four participant groups, influences of participants’ performance from the prior-experiences, and other potential preconceptions and situations to their reasoning. Four results are identified. Frist, 11 rationales contributed to participants to make their tool usage decision and strategies. Second, participant with more varieties of prior experiences in graphic design would potentially have significantly higher confidence level in their adaptive expertise. Third, participants who performed better in this study, obtained more thorough reflection in design thinking. This result shows that this task requires domain-dependent expertise. Forth, participants’ performance found affected by several non-cognitive preconceptions such as uncertain challenges, adapting in the new work space, and stress management. Future studies need to increase the number of participants to potentially increase statistical significance of the results, and to identify the relationship among factors that affect participants’ performance and exhibition of adaptive expertise. Implications of this study suggests the need to expose learners to diverse types of graphic design experiences and novel tasks/contexts.

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KAISER, ANDREW. "CONSTRUCTING MODERNITY: JAPANESE GRAPHIC DESIGN FROM 1900 TO 1930." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147717044.

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Kry, Tobias. "How to develop graphic design for games with low-pixel density." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-203236.

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This thesis is written for the Bachelor of Arts degree in Game Design and Graphics at Gotland University in Sweden. A method used in graphic design for games with low-pixel density was initially studied in the course Advanced Game Project and has in this work been further developed. In general, since regular size-reduction of pictures often results in visually incomplete bitmaps, the goal of this thesis is to provide a better overview on the process of reduction where the important features of the original picture are maintained throughout the reduction phase.

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Harzman, Joshua Carlisle. "Urban Scrawl: Satire as Subversion in Banksy's Graphic Discourse." Scholarly Commons, 2018. https://scholarlycommons.pacific.edu/uop_etds/3122.

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This thesis analyzes the ways in which Banksy’s street art installations are used to critique sociopolitical injustices. The street has long existed as a platform for social and political movements. In particular, street art offers unique opportunities for voicing criticisms in pioneering ways that have been proven successful in upsetting normative power structures. Anne Theresa Demo’s analysis on the Guerilla Girls’ comic politics of subversion offers an appropriate conceptual lens to analyze Banksy’s employment of perspectives by incongruity as strategies for subversion. Therefore, this thesis analyzes how Banksy’s subversive satire is rhetorical by examining three techniques that have successfully exposed hegemonic institutions: mimicry, revision, and juxtaposition. Further, I argue that Banksy’s street art gallery, Better Out Than In, utilized these techniques in a global, revolutionary manner to bolster access and widen audience participation. Banksy’s street art both spotlights contemporary injustices and provides a frame to interpret the artist’s critical perspectives. By analyzing the ways in which Banksy uses satire as subversion, this thesis illustrates how visual rhetoric can offer liberation for victims of sociopolitical injustice.

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Timney, Todd F. "Design History Matters: Visualizing Graphic Design History Through New Media." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/38.

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New media's emerging influence on society and the design profession is profound. Currently unrealized, the intersection of graphic design history and digital media is an area worthy of further examination. For graphic designers trained in the design of fixed content for traditional media, new media's challengeto develop open-ended systems that adapt to dynamic content, customization, and multiple authorshipcan be unsettling. But the potential benefits of this exploration are many. The ability to synthesize video, sound, static imagery, and textual information to present interactive content that adapts to the contemporary history of graphic design student's multi-modal and mobile lifestyle will provide a significant advantage.

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Vier, Riley Todd. "Machines of curation." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6322.

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Machines of Curation is an attempt to confront the ever-growing landscape of technology I observe and live inside of daily. This work is specifically concerned with my interest in how we interact with and alter our surrounding environments through technology. The constant tether we have to our devices is becoming more reminiscent of a parasite and host, rather than of a device and user. It informs how we are to look at things, speak with those we love, pay for things, and receive news; just to name a few. I seek to co-opt these methods to urge the viewer to ask their own questions and make their own decisions on how they feel technology is shaping them in ways they may be unaware of. Graphic design holds a unique vernacular to our digital universe as one of the primary mediums that helps organize and create it. The overall goal of this work is that a consistent irony can be established through the work that helps the viewer experiencing it question their views of technology.

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Economou, Inge. "Motopomo: the historical-theoretical background to contemporary graphic design practices." Thesis, Port Elizabeth Technikon, 2005. http://hdl.handle.net/10948/179.

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This study proposes to illustrate that the twentieth century passage from modernity to postmodernity, with its induction of socio-cultural development and attitudinal change, exists as a fundamental means of informing the character of contemporary graphic design practice1. Today, in contrast to the intentions of this study, many appraisals of graphic design work would seem to place too much emphasis on the analyses and evaluation of the stylistic character of creative practices and not enough on the theoretical, historical and attitudinal issues surrounding them. As such, this study attempts to reveal the meaning and moreover the relevance of philosophical, social, cultural and critical theory for contemporary, postmodern graphic design practices. This is done in order to provide graphic designers with a reflective awareness of the structure of the cultural context within which they work, and takes into account twentieth century cultural theory and twentieth century, western graphic design practice, within the framework of the passage from modernity to postmodernity.

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Counselman, Jerry W. "European immigrant designers and their influences on American graphic design 1920-1950 /." Online version of thesis, 1990. http://hdl.handle.net/1850/10923.

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Moys, Jeanne Louise. "An exploration of how professional graphic design discourse impacts on innovation : a focus on the articulation of a South African design language in i-jusi." Thesis, Rhodes University, 2004. http://eprints.ru.ac.za/671/.

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Volk, Mitchell James. "GRAAPHS: graphic representations of abstract and altruistic phenomenological hymns and stories." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6871.

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Bernhardi, Ernest F. III. "Typography: From Internal Conflict to External Content." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2100.

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This body of work represents a celebration and pursuit of realizing an alternative language, one capable of expressing internal conflict through process and response to external typographic form and content.

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Kwon, Sohee. "unseen." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1951.

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Photography conveys informative data, aesthetic value, and a conceptual message very much like graphic design. In the hands of the photographer, the viewfinder of a camera becomes an editing tool. Editing by point of view, use of color and cropping determines a great deal about the communication made by imagery. In my creative project, I will explore photography as a means to generate form, concept, and content. As a result of this exploration, I expect to find new ways of approaching graphic design problems. My goal is to develop themes that combine aspects of photography and graphic design. Themes could derive from broad issues like social statements, cultural phenomena, or mechanical effects, through the use of the capabilities of the camera, timing, lighting, or framing. Methods of editing photography such as, cropping, retouching, and splitting provide opportunities to experiment with making messages that rely on images alone. Another level of experimentation will be using typography in response to images.

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Birand, Can. "Self-reference Through White Space in Graphic Design." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1577.

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In the graphic design, successful use of white space provides the designed object with a strong reference to its material quality and internal structure. Showing the paper breaks the wall between the design and the viewer, and gives the audience a better understanding of the construction of graphic design. White space is devoid representation, which leads the work to become completely honest about its materiality. This project explores different methods and processes for creating aesthetic/conceptual integrity in graphic design by using white space as a primary device.

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Heintzelman, Brooks M. "The Day is Just Another Surface." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5879.

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Within a practice founded on both typographic form and language, I have continued to push myself to make work that is more sensitive to place, more contextual, more (hopefully) generous toward a public audience. These pieces might serve as useful instruments of institutional critique, resources for comprehension, or moments in which to interrogate preconceived modes of seeing. I deploy original texts in public spaces in order that they might force viewers to decide how to personally resolve the content they encounter. Is it language or object? Literal or figurative? Graphic design or art? The further I develop this body of work, the less interested I am in providing answers to those questions. The questions themselves are enough.

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Sarrafi, Aroosha. "Promotional materials for the Central Connecticut State University. Department of Design (Graphic/Information)." View abstract, 1999. http://library.ctstateu.edu/ccsu%5Ftheses/1559.html.

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Thesis (M.S.)--Central Connecticut State University, 1999.
Thesis advisor: Sue Vial. " ... in partial fulfillment of the requirements for the degree of Master of Science in Art education." Includes bibliographical references (leaf [9]).

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Gossot, Anne. "L'apport de Yokoo Tadanori au graphic design japonais : Art, design et société dans les années soixante." Paris 7, 1994. http://www.theses.fr/1994PA070145.

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Le graphic designer japonais de renom international Yokoo Tadanori (né en 1936) est l'auteur d'une œuvre d'influence sur plusieurs générations de créateurs à travers le monde, mais qui avait peu été étudiée jusqu'ici. Particulièrement novatrice dans les années soixante, cette œuvre a eu un rôle majeur à jouer dans le tournant décisif alors pris par le graphic design japonais contemporain. Par ailleurs, cette œuvre a également tenu un rôle non-négligeable dans la définition des mouvements d'idées qui parcouraient la société japonaise des années soixante, période-charnière de la civilisation du XXe siècle. S'emparant de l'œuvre de Yokoo Tadanori dans les années soixante comme d'un miroir, la présente thèse la confronte simultanément à ses divers contextes - biographique, sociologique, graphique, artistique - pour monter l'impact de chacun sur la définition des orientations qui la caractérise et mettre ainsi en lumière la multiplicité des sens qui la tisse. Par ailleurs, semblable mise en abyme permet de mieux décrire l'apport de Yokoo Tadanori en tant que créateur à son temps
The works of the famous graphic designer Yokoo Tadanori (born in 1936), which have had an noticeable influence over generations and generations of artists throughout the world, had not been much considered by art's historians until today. The works created in the sixties, considered as especially innovative, have played a noticeable influence on the orientations of the Japanese graphic designers' scene, which was facing it's most crucial turning point within the post war period. By the same, these works have had to play a role in the definition of the streams of ideas that were running the Japanese society on those days, a period of main historical changes in the XXth century's civilization. Using of these works as a mirror, the present thesis confront them to several of there producing context - biographical, sociological, graphic design, artistic - in order to show the relative importance of each of them on the creative process of the works, as well as to enlighten the multiplicity of the meanings waved in the works. Moreover, such a method helps to understand further the part of the artist in the creation process

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Brown, Arthur T. "Points of Contention: Oddities, Delicacies, & Monstrosities." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2440.

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Points of Contention, an MFA exhibit, features fifteen works of relief-printed images from carved linoleum and layers of type printed with antique letterpress wood type. The work constitutes a visual exploration of dissatisfaction and disenchantment presented through the context of odd stories in the news and major current events, such as election politics and the closing of Hostess bakeries, as well as, NSA data collection and gun violence. This supporting thesis explores the conceptual and physical processes of creating the pieces, including researching other artists who have wrestled with similar topics and produced their own unique reaction and resolution through art. The paper also discusses the technical and mechanical side of the artistic process, especially the anachronistic attraction to the methods of letterpress and printmaking in a digital age. Finally, this thesis chronicles the artist’s sources of inspiration from cartoon monsters and brand mascots during childhood to letterpress printmaking.

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Dee, Meaghan. "VISIBLE TRACE A series of selected projects reflecting my graduate school experience, my interest in mark making, typographic collage, and serendipity." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2448.

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Boone, Heather. "Re:creation." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2964.

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Cilingiroglu, Idil. "Exploring Environments." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3369.

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My search for creative inspiration often leads to explorations in natural and built environments. Being physically immersed in an environment offers endless vantage points, as well as points of focus; allowing all senses to function as receptors of surrounding data. Observations stimulate thoughts and ideas, which inspire experiments. Projects are born, sometimes out of the smallest details. In a series of projects I explore the possibilities of using physical environments as primary source of inspiration and input in the creation of tools that function in design contexts.

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Jenkins, Kerry Scott. "Gaining Attention and Encouraging a Response: My Criteria for Successful Graphic Design." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2068.

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As a graphic designer, my goal is to clearly express my clients' message to their intended audience. Based on the diversity of my clients and their products and services, finding a consistent style in my projects might be difficult, although there are usually some typical traits. With examples of my work and dialogue from leaders in the graphic design industry, I intend to point out a common thread that runs through all successful design projects, regardless of the projects' designer, era, or individual design elements (e.g., typography, copywriting, color, layout, imagery). Success comes from graphic design's ability to gain attention and encourage a response.

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Chenault, Lindsay Vaughn. "Tailored: Living through Wearable Design." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/25.

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Tailored is a graphic design experiment which explores clothing as communication. It tells the story of my life through my body and the “designed” skirts I wear. Clothing is a visual representation of who we are and what we do. Through Tailored I am pushing the boundaries of how people read what I wear. I have designed and made skirts that explicitly define (through words, fabric and image) the six main compartments of my life. This paper records and explores the visual experiences I create for those around me and myself. Tailored is a personal investigation of how clothing speaks about me through personally designed garments.

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Glover, Mickey. "Designing without boundaries." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-1112103-133946/unrestricted/GloverM120803f.pdf.

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Thesis (M.F.A.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-1112103-133946. Includes bibliographical references. Also available via Internet at the UMI web site.

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Gluibizzi, Amanda. ""The Entire Visual World": Art, Design, and 1960s New York." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342617358.

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Ucci, Allison. "American Sign Language : an influence on graphic design problem-solving /." Online version of thesis, 2008. http://hdl.handle.net/1850/6274.

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Dong, Yuting. "DESIGN CONCEPT: MY AMALGAMATION OF EASTERN AND WESTERN CULTURES." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002097.

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Young, Alexandra Felice. "A graphic identity program for Sculpture '91 : a cooperative exhibition co-sponsored by the Monroe County Parks Department and the Dawson Gallery /." Online version of thesis, 1990. http://hdl.handle.net/1850/11318.

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Savic, Maja. "The Secret Life of Things." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etd/1124.

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The artist discusses the work presented in The Secret Life of Things, her Master of Fine Arts exhibition held at Slocumb Galleries, East Tennessee State University, from March 18th through 22nd, 2013. The exhibition consists of sixteen illustrations (four of these are digitally enhanced photographs) and one animation that show the artist’s interest in bringing household objects to life. Pieces in the exhibition can be characterized as humorous with a strong narrative and attention to details. Savić’s ideas are based on traditional education with contemporary influences. All printed work is twenty inches wide, sixteen inches tall, framed, and hung in one side of the gallery. The other side was reserved for an animated artist statement projected onto the gallery walls. This thesis discusses the most important influences and doctrines about art that support and further explain the presented work.

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Cole, Daniel. "Blue Book." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3044.

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Alain De Botton writes in The Architecture of Happiness, that “any object of design will give off an impression of the psychological and moral attitudes it supports.” Interpreting design then is done by understanding the attitudes of the designer, which either will or will not resonate with the viewer. I may consider the formal and conceptual merits of an object of design, but ultimately my attitudes determine whether the object will have resonance with me. These “attitudes” are, anthropologically speaking, values: what a person finds most good, proper, or desirable in life. Values are the key to the creation of objects of design that resonate. The purpose of this study is to gain insight into my values and refine their manifestation in my work. By defining those values, I can examine how my work might resonate with others.

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Zhang, Mengfu. "Design By Accident." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1902.

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Accident is a metaphor for life. From an arbitrary point in time, we potentially preview the entirety of existence. There is a Chinese idiom called “ blessing or bane,” which implies that a misfortune may perhaps soon turn into a blessing. Focusing on accident as a design method implies making the best out of a bad situation. An accident reveals invisible circumstances and potentialities in the world, both familiar and unfamiliar. Looking into the unpredictable world, I can begin to release my control, take a breath, and see what might happen if I do not fight the situation. I am able to get out of my own way, and see what the work’s destiny will be. This sets up a context in which there are no faults, no mistakes, and no accidents — everything may contribute to a solution.

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Reese, Joshua. "Understanding Design." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2162.

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Somewhere along the way, I found that graphic design in professional practice was becoming synonymous with form and style, and losing its connection with concept and audience. I’m trying to find a way back.

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Higa, Beverly C. "In defiance of the hyperreal| Reframing the curriculum through a graphic design project." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527954.

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Two opposing views in recent philosophical history disagree on how our reality and experiences in this world are based and shaped. French theorist Jean Baudrillard refers to the complex communication structure of our high-tech information age as the hyperreal. Authors Suzi Gablik and Ellen Dissanayake, however, vehemently challenge this view, contending that language only came after human culture was deeply embedded with meaning-making due to our desire to bond as humans.

This action research project seeks to discover whether or not students in a graphic design class can feel a sense of connectedness and relevance to their community and natural environment while participating in a community-based design project, directly related to the natural landscape and, hence, counteracting the effects of the so-called hyperreal.

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Menon, Sanjiv. "Interface impressions typographical impressions of early contact between Maori and Pakeha : this exegesis is submitted to Auckland University of Technology for the degree of Bachelor of Art & Design (Honours), October 2008 /." Abstract. Full exegesis, 2008.

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Exegesis (BA--Art and Design) -- AUT University, 2008.
Disk contains images of artwork. Includes bibliographical references. Also held in print (xvi, 19 leaves : ill. ; 25 cm + 1 CD-ROM (4/3/4 in.)) in City Campus Theses Collection (T 686.224 MEN)

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Karjakinienė, Ieva. "„Moters žydėjimas“ jausmų vizijos projektas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070111_081844-11566.

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„Woman pride“ – project of feeling vision. The album „Woman pride“ – project of feeling vision was prepared and predicated according to art, design theory (knowledge of artistic and composite expression means) and evaluation criteria of design creation (aesthetics, functionalism, solid style and availability). The conception was formulated and it was grounded by philosophical and social aspects. Creative work organisation, general statistics, colouristics, constructional and other decisions were concretized with reference to prototype analysis and examples. Creative work span is planned and design decisions of concrete parts are formulated. The hypothesis is based with work results that synthesis of painting, graphics, drawing and photography enable to create subtle and modern product.

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Pagojūtė-Pociuvienė, Kristina. ""Taro" kortos." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070111_212357-13573.

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The Taro cards are the theme of the work. The point of work is to create the classic Taro deck of cards, containing all 78 cards, decompounding of 22 senior arcades and 56 cadence using traditional taro card system and sustaining with symbolisms of the Baltic tribes. The target of work: 1. To scrutinize the history, structure and symbolism of Taro cards. 2. To scrutinize the string of Taro cards with the magical world. 3. To scrutinize symbolic meaning in philosophical aspect. 4. Sustaining on the analysis of prototypes to concretize the volume and organization. 5. Designing (the generation of the idea for the work, sketching, projecting with a computer programs). There is the analysis of the literature and other sources of information used in the work. The photography and computer graphics are used in the magisterial work. In pursuance of the best quality there was the photography session with the reselected models organized. The pictures were processed with Adobe PhotoSHOP and Corel PhotoPAINT computer programs, later the results were processed with CorelDRAW computer program. Appearance and in abstract a growth of human mind gain abstractness, gets some new names, newer the less the target remains the same �� to find the very point of reference, which could lead the life in harmony. Primitive minded people understand the ambience more in prominence to the parts that are important to their empathize which are important to experience, it is its harmony with nature... [to full text]

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Ford, Ann. "Typography As Performance: bringing the stage into the design process." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1590.

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Graphic design is historically a visual language consisting of text and image composed for the purposes of sending messages in print format. The voice of graphic design is typography—structuring and arranging letter forms into visual language. Over the past two decades, new communication formats such as motion and interaction have frequently been related to performance. My intention, however, is to explore how performance can influence typography in two and three dimensions, and even in digital environments.

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Edholm, Rosalie. "Portrait: A Graphic Novel and Artist's Book." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/24.

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At this exact moment, graphic novels are enjoying a heyday of popularity, profusion and attention. As the graphic novel medium matures and detaches itself from the “non-serious” reputation of comics, it is becoming clear that graphic novels are a powerful and effective art form, using the both verbal and the visual to relay their narratives. Portrait, the short graphic novel that is my senior art project, is intended to emphasize the artist’s book character of the graphic novel, and serve as an example of how a graphic novel’s artist’s book characteristics allow communication of the artist’s message effectively.

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Speer, Martin Fuller. "Facades: Projecting Identity." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/176.

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A goal of environmental graphic design is to create identities that inform the public of a building's contents and occupants. The designer's use of recognizable exterior marks, symbols and signage dictates how well this information is communicated to prospective clients, visitors or observers. My creative project examines how informational environmental and graphic design can improve awareness and understanding of the mission of a building that was not constructed for its current social services use.

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Weber, Sarah. "Visual Exploration of Cultural Intersections." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2790.

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Personal exposure to, and in-depth investigations of cultural artifacts can be used to inform visual explorations that represent the universal experience of existing in a world where cultural boundaries are blurred and constantly evolving. Cross-cultural understanding and visual language are expanded throughout the research and making processes, resulting in work that has increased resonance with diverse audiences. Artifacts are not only expressions of a specific group of people, but also reflections of societal influences on one’s thinking, creating, and experiencing the world. In an increasingly global society, there is more interaction between cultures, resulting in a greater exchange of beliefs and perspectives. Through this exchange, certain aspects of a culture are retained, while new approaches to form and material are also intro-duced. When culturally-specific methodologies and aesthetics are visually or conceptually layered, work is produced that communicates relevant, meaningful narratives about the intersection of cultures.

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Henriques, Carissa. "Modes of Participation: Co-creative Approaches to the Design Process." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1716.

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This project explores the notion of participation within the graphic design and problem-solving process. Through projects using generative tools and collaboration, I explore ways to instigate controlled participation from designers and non-designers. I observe and document how the methods and means of participation affect the creative process during these projects.

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Dissertations / Theses on the topic 'Art / Graphic Design'

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