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Corbo-Hudak, Neva. "User considerations in graphic design /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1111.
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Owens, Sarah Teresa. "Design is ordinary : lay graphic communication and its relation to professional graphic design practice." Thesis, University of Reading, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.655747.
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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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Jägerholm, Petra, and Lovisa Rönngren. "Anti-aesthetics in graphic design." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130012.
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Syftet med denna studie är att diskutera och problematisera anti-estetisk design och undersöka vilken funktion den har idag. Denna uppsats bygger på en bred bakgrund om fulhet och skönhet, om olika anti-estetiska och kritiska rörelser genom historien och teorier så som kritisk design, normkritik och feminism. Information har insamlats genom en kritisk granskning av tre nummer av tidskriften Bang, analys av offentliga uttalanden om och av Bang och Bastion, samt intervjuer med formgivaren Sepidar Hosseini och tio designstudenter. Metoden kvalitativ ansats användes i studien och induktiv samt deduktiv analys av intervjuerna utfördes. I analysen undersöktes hur avvikande designelement kunde bidra till att kritisera normen med hjälp av etablerade teorier, uttalanden från Bastion och kommentarer från Hosseini och designstudenter. Resultatet av denna studie skall visa på ett alternativt perspektiv på design och diskutera vilken tillämpning den kan ha idag. Anti-estetisk design kan anses ha funktionen att skapa rum för det som inte passar in i det rådande idealet och fungera som grogrund för vidare diskussion om samhällets normer.
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Dhawi, Fahad A. "Redesigning Arabic learning books : an exploration of the role of graphic communication and typography as visual pedagogic tools in Arabic-Latin bilingual design." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13472/.
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What are ‘educational typefaces’ and why are they needed today? Do Arabic beginners need special typefaces that can simplify learning further? If so, what features should they have? Research findings on the complexity of learning Arabic confirm that the majority of language textbooks and pedagogic materials lead to challenging learning environments due to the poor quality of book design, text-heavy content and the restricted amount of visuals used. The complexity of the data and insufficient design quality of the learning materials reviewed in this practice-based research demand serious thought toward simplification, involving experts in the fields of graphic communication, learning and typeface design. The study offers solutions to some of the problems that arise in the course of designing language-learning books by reviewing selected English learning and information design books and methods of guidance for developing uniform learning material for basic Arabic. Key findings from this study confirm the significant role of Arabic designers and educators in the production of efficient and effective learning materials. Their role involves working closely with Arabic instructors, mastering good language skills and being aware of the knowledge available. Also, selecting legible typefaces with distinct design characteristics to help fulfil various objectives of the learning unit. This study raises awareness of the need for typefaces that can attract people to learn Arabic more easily within a globalized world. The absence of such typefaces led to the exploration of simplified twentieth-century Arabic typefaces that share a similar idea of facilitating reading and writing, and resolving script and language complexity issues. This study traces their historical context and studies their functional, technical and aesthetic features to incorporate their thinking and reassign them as learning tools within the right context. The final outcome is the construction of an experimental bilingual Arabic-English language book series for Arab and non-Arab adult beginners. The learning tools used to create the book series were tested through workshops in Kuwait and London to measure their level of simplification and accessibility. They have confirmed both accessibility and incompatibility within different areas of the learning material of the books and helped improve the final outcome of the practice. The tools have established the significant role of educational typefaces, bilingual and graphic communication within visual Arabic learning.
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Malinoski, John Banton. "Graphic design archive on videodisc marketing and communication programs /." Online version of thesis, 1986. http://hdl.handle.net/1850/8749.
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Pontis, Sheila Victoria. "Guidelines for conceptual design to assist diagram creators in information design practice." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5684/.
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Today’s society is characterised by the production of massive amounts of information— freely transferred—and instant access to knowledge. This current overproduction of data is translated into complex diagrams to enhance the clarity. Nevertheless, it is commonplace in information design practice to find diagrams that are not communicating the intended messages. The act of conceiving the diagram takes place during conceptual design. This can be where misleading analysis and superfluous information organisation actions may lead to ill-conceived conceptual design, and therefore to ill-conceived diagrams, i.e. overloaded, unintelligible and disorganised. Existing tools for conceptual design of diagram creation do not properly meet design practitioners’ needs in that they tend to be excessively time-consuming to implement. This indicates a need for the exploration of new design methods focused specifically on the conceptual design stage of the process of designing diagrams. This practice-led thesis presents one such possible design method, i.e. MapCI Cards, aimed at guiding experienced graphic and information design practitioners in the preparation of complex diagrams. MapCI Cards presents a collection of guidelines that make use of prompts and questions, in order to assist the conceptual design stage of diagram creation. The use of the proposed design method does not guarantee the production of outstanding outputs. The purpose of MapCI Cards is not to create aesthetic design; rather, it is to increase an understanding through guided content analysis and organisation of the information to be conveyed. Lists, draft diagrams, mind-maps and sketches are some of the possible resulting outputs of using the MapCI Cards. In short, the cards assist the development of the conceptual idea of the potential final diagram that will be developed in the prototype design stage. The first stage of this research investigates how complex diagrams organise information, using the London Underground diagram as a case study. Analytical relational surveys are used to explore diagram creators’ decision-making processes. Sets of studies of diagram structures (Walker, 1979a; Tufte, 1983), design processes (Wurman, 1989; Jones, 1992) and information organisation (Wurman, 2001; Shedroff, 2003; Roam, 2008) are examined and combined. After this, the data collected are analysed using qualitative visual methods, and rearranged to develop the content in MapCI Cards. Two pilot workshops are designed as the revising and optimising methods. Then, five self-documentation cases drawn from practising information designers in the UK are conducted to test MapCI Cards within professional practice. The performance of the proposed guided approach to conceptual design is measured through an interpretation model, and key informants’ insights are used to delimit its conditions and limitations.
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Kenna, Hilary. "A practice-led study of design principles for screen typography : with reference to the teachings of Emil Ruder." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6051/.
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This research proposes that traditional typographic knowledge does not sufficiently address the design aspects specific to screen typography such as 3D space, motion, time, sound and interactivity, and that traditional design principles require adaptation and expansion for screen. This practice-led study presents a broad critical review of the emergent field of screen typography spanning screen media technologies, traditional typographic knowledge and contemporary practice. Its findings contribute a definition of the field of practice including an overview of the history, origins and properties of screen typography, a classification of practice areas, and key practical principles used in related screen-native disciplines such as film-making, animation and human computer interaction design. Due to the rapidly changing technological environment of the screen, obsolescence is a key concern for this research and highlights the need for sustainable typographic design methodologies not aligned to specific technology. In this context, and following a literature review of traditional design principles, the work of Emil Ruder (1914-‐1970), a Swiss modernist typographer was identified as distinguishable in the field and particularly relevant to screen typography because of his holistic design approach underpinned by conceptual principles and systematic practical methods. This thesis provides a detailed analysis of Ruder’s methods set out in his book Typographie: a manual for design (1967) and uses the findings to develop an experimental practice methodology for screen typography. The developed methodology sets out a matrix of the constituent parts of typographic design practice that include: typographic elements, typographic properties, and design principles, which can be combined to create practical exercises in screen typography. The practice matrix was evaluated through peer review, then tested and applied in practice to the design of a series of experimental practical samples and online repository type4screen, and to an iPad app of T.S. Eliot’s 1922 poem, The Waste Land.
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Ali, Hena. "Graphic communication design practice for sustainable social advocacy in Pakistan : co-developing contextually responsive communication design (GCD) methodologies in culturally diverse contexts." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8747/.
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Communication design, as a significant tool for sustainable social advocacy, is still under-explored both academically and within creative practices worldwide. In a developing country like Pakistan, the role of social advocacy as an effective tool for social change is ambiguous. This practice-led research aims to redress this imbalance by exploring the development of graphic communication design approaches (GCDs) for social advocacy, in response to a low Pakistani literacy context. The investigation presents a contextually responsive GCD model for design development (Fig3a: 13), as a critical design framework, for synthesising graphic languages in Pakistan. This is presented as an alternative non-traditional communication approach, in response to contextual constraints (socio- cultural, literacy levels and/or available resources) in Rawalpindi, Pakistan. The practice asserts contextually driven communication design approaches for sustainability, and it also contests the effectiveness of universal design approaches in culturally diverse contexts. Using a case study approach, a semiotic analysis of three forms of Pakistani graphic media, namely Lollywood billboards, Pakistani truck art and political campaign posters, is undertaken. As a mapping stage, this explores the development of vernacular communication systems and visual codes to advance effective graphic languages in Pakistan, while a simultaneous review of the literature and practice supports the case studies. However, the analysis relies primarily on a pilot study, contextual interviews and collaborative design projects, with Pakistani truck and billboard artists, to identify critical graphic frameworks operative in the Pakistani visual context. This leads ultimately to the final participatory design-led synthesis stage, which co-designs social advocacy interventions in the low- income community of Dhok Chaudrian, Rawalpindi. The interventions address the major issue of open garbage dumps, and the co-design approach highlights the significance of communication design practice evolving as a sustainable social engagement tool in response to a specific issue in a specific context. This thesis is organised in four major sections. Chapter One introduces the research aims, structure and organisation of the thesis. Chapter Two reviews the context and identifies gaps in graphic communication design theory and practice in a social context, before it grounds the research in the Pakistani context. Chapter Three maps the Pakistani visual vernacular through a case study analysis, a pilot study and three collaborative design projects in the cities of Lahore and Rawalpindi. This establishes critical communication design frameworks as a rhetorical design framework (pg. 88) and contextual GCD principles (pg.77) in Pakistan, which are then tested in the proceeding final synthesis stage. Chapter Four entails the design synthesis, which involves testing and evaluating previously developed critical frameworks through co-design sessions in the Dhok Chaudrian community, Rawalpindi. This chapter focuses specifically on community participation as a tool to inform the development of effective graphic languages for design sustainability. Co-design sessions, as an interaction prototype, are evaluated for short-term impacts in terms of engagement, with custom- designed communication tools for a low-literacy target audience. As for resources, this research draws on contextual interviews, collaborative design projects, contextual observations and design evaluations, all of which are supported by published material. The research-led design process is systematically documented as design taxonomy, to be valued as a transferable model of communication design practice. Organisations, artists and designers, with similar research or practical ambitions, can take away the underpinning principles from this research practice and locate them within their own respective practices.
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Jackson, Lance Douglas Smith Jon M. 1959. "Introduction to the Internet and Web page design." [Cedar City, Utah : Southern Utah University], 2009. http://unicorn.li.suu.edu/ScholarArchive/Communication/JacksonLanceD/IntrototheInternet&WebPageDesign.pdf.
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Thesis (M.S.)--Southern Utah University, 2009.A workbook CD accompanies this text. For more information contact the author, Lance Jackson, Southern Utah University, 351 W. University Blvd., Cedar city, UT 84720. E-mail: jackson@suu.edu. Telephone: (435) 586-7867. Title from PDF title page. "April 2009." "In partial fulfillment of the requirements for the degree [of] Master of Arts in Professional Communication." "A project presented to the faculty of the Communication Department at Southern Utah University." Dr. Jon Smith, Project Supervisor. Includes bibliographical references (p. 14, 33, 49, 69, 85, 104, 135, 155, 174).
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Clements, Jackie E. "Motive and responsibility as influences on graphic design outcomes /." Online version of thesis, 2009. http://hdl.handle.net/1850/9733.
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Henrichson, Linn. "Hypermanual : Designing beyond the screen." Thesis, Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7712.
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Lust, Caitlyn. "Women’s Work: Re-evaluating the Canon of Graphic Design History." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556273078639679.
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Baah, Kwame F. M. "Defining acceptable colour tolerances for identity branding in natural viewing conditions." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13465/.
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Graphic arts provide the channel for the reproduction of most brand communications. The reproduction tolerances in the graphic arts industry are based on standards that aim to produce visually acceptable outcomes. To communicate with their target audience brands, use a set of visual cues that may include the definition of a single or combinations of them to represent themselves. The outcomes are often defined entirely by their colour specification without an associating it to target parameters or suitable colour thresholds. This paper researches into the feasibility of defining colour tolerances for brand graphical representations. The National Health Service branding was used as a test case borne out of a need to resolve differences between contracted suppliers of brand graphics. Psychophysical evaluation of colour coded navigation used to facilitate wayfinding in hospitals under the varying illuminances across the estate was found to have a maximum acceptable colour difference threshold of 5ΔE00. The simulation of defined illumination levels in hospitals, between 25-3000 lux, resulted in an acceptable colour tolerance estimation for colour coded navigation of 3.6ΔE00. Using ICC media relative correction an experiment was designed to test the extent to which substrate white points could be corrected for colour differences between brand proofs and reproductions. Branded stationery and publications substrate corrections to achieve visual matches had acceptable colour difference thresholds of 9.5ΔE*ab for solid colours but only 2.5ΔE*ab. Substrate white point corrections on displays were found to be approximately 12ΔE*ab for solids and 5ΔE*ab for tints. Where display media were concerned the use of non-medical grade to view medical images and branded content was determined to be inefficient, unless suitable greyscale functions were employed. A STRESS test was carried out, for TC 1-93 Greyscale Calculation for Self-Luminous Devices, to compare DICOM GSDF with Whittle’s log brightness. Whittle’s function was found to outperform DICOM GSDF. The colour difference formulas used in this research were tested, using near neutral samples 2 judged by observers using estimated magnitude differences. The CIEDE2000 formula was found to outperform CIELAB despite unexpected outcomes when tested using displays. CIELAB was outperformed in ΔL* by CIEDE2000 for displays. Overall it was found that identity branding colour reproduction was mostly suited to graphic arts tolerances however, to address specific communications, approved tolerances reflecting viewing environments would be the most efficient approach. The findings in this research highlights the need for brand visualisation to consider the adoption of a strategy that includes graphic arts approaches. This is the first time that the subject of defining how brands achieve tolerances for their targeted visual communications has been researched.
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Bremer, Alexandra, and Gabriel Josefsson. "Development of guidelines regarding the graphic design of drug packaging." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-101991.
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Denna rapport undersöker hur läkemedelsförpackningar, genom sin grafiska utformning, kan bli tydligare i sin kommunikationsförmåga. Detta grundar sig i det problem som idag finns kring felmedicinering på grund av läkemedelsförväxlingar. Målet har varit att ta fram riktlinjer för designen av läkemedelsförpackningar för att bidra till en ökad patientsäkerhet.
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Olsen, Anckers Linnea. "Typography and Typographic Classification Systems in Swedish Graphic Design Education." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130023.
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Studien syftar till att undersöka om det finns ett typografiskt klassificeringssystem som skulle kunna fungera som standard att lära ut i svensk designutbildning. Med hjälp av åsikter från aktiva inom typografi- och undervisningsbranschen värderas de mest kända systemen för att det mest lämpliga att använda som standard i svensk designutbildning därefter utses. Detta resulterade i en lätt reviderad version av det befintliga klassificeringssystemet Vox AtypI. Vidare har en del av ett utbildningsmaterial tagits fram för att ge ämnet en given plats i designutbildningen, och för att det framtagna klassificeringssystemet ska kunna läras ut på ett effektivt sätt. Med tidigare forskning och gjord pilotstudie som stöd resulterade studien i en kortlek med tillhörande häfte där regler för tre typer av spel presenteras; materialet är dock utformat för att öppna upp för egna regler och spel. Faktorer som bildminne och relationella visualiseringar visade sig vara avgörande för inlärningens effektivitet, och talet som högst väsentligt för att kunskapen ska fastna.
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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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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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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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Reese, Candice. "Architecture and urban design as influences on the communication of place and experience in graphic design /." Online version of thesis, 2009. http://hdl.handle.net/1850/9727.
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Hutchens, Jason Scott. "Educational handheld video examining shot composition, graphic design, and their impact on learning /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002371.
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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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Meyer, Renee J. "Culture, context, and communication developing a culturally sensitive curriculum in graphic design education /." [Ames, Iowa : Iowa State University], 2008.
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Buwert, Peter. "Ethical design : a foundation for visual communication." Thesis, Robert Gordon University, 2016. http://hdl.handle.net/10059/1577.
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The central original contribution to knowledge proposed by this thesis is the setting forth of a conceptualisation of ethical theory specifically in relation to design, with a focus on visual communication design. Building on earlier work by design theorist Clive Dilnot in the area of design ethics and on philosopher Giorgio Agamben’s formulation of the philosophical concept of potentiality, a way of thinking about the relationship between design and ethics is proposed which concludes that design is in fact always inherently ethical. However, this conception of ethical design purposefully leaves questions of the qualification of good and bad unresolved, stating only that the ethical is the prerequisite condition in which both good and bad become possibilities. Design’s significantly unethical capability to suppress and anaesthetise individuals’ ethical experience is highlighted through a proposal of a process of an/aesth/ethics. Observation of the relationship between design and ethics in the real world through a series of interviews demonstrates something of the complexity of design’s relationship with ethics and the diverse range of positions, beliefs, attitudes and paradoxes abounding within the design profession when it comes to addressing the question of “good” design practice. Six “sites” of ethics within contemporary design discourse are introduced and discussed. The ethicality of design practices in relation to these sites are then analysed through the lens of the proposed ethical framework: identifying strengths, weaknesses and potentials within these observed strategies. The way of thinking about ethical design proposed here demonstrates potential in contributing to designers’ ability to critically consider the ethicality of their own practices. From this foundation they may be better equipped to begin addressing the question of the qualification of the “goodness” of design. In conclusion, proposals are made for how this framework could be practically developed and used to support and encourage ethical design in the real world.
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Bruno, Alexander. "Visual-Audio Media: Transformation and Communication." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3768.
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Designers are often concerned with communication through the visual; we focus on the printed object, images on screens, furniture, spaces, and other visual experiences. We should also be cognizant of audio and its communicative properties, especially when contextualized with visual content. Pairing visuals and audio can make a greater impact upon a viewer/listener than each media might make alone. My research focuses on a practice of working within strict sets of rules and boundaries to create visual-audio work. This visual-audio work not only communicates a concept or idea, but also lives as a research artifact of my design processes.
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Ausfelt, Max. "Grafisk profil Citytryck." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23789.
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Zelman, Stephanie. "Letterforms, cultural forms : the interplay between graphic design, western culture and communications technologies since mid-century." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30232.
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Beginning with an understanding of the aesthetic and idealism of modern design, this thesis discusses the interrelationship between culture, technology and graphic design since mid-century. A review of the rise of postmodern critique, particularly as expressed through digital technologies, demonstrates how cultural shifts and developing communications technologies work in tandem to influence the emergence of visual systems. By revealing several underlying premises of modernity, it is shown that the linearity of modern design is a biased and limited theory of vision. This argument is reinforced by contrasting the modern conception of direct communication with alternative design practices that encourage readers to play a more active role in the interpretation of a message. However, the thesis ultimately returns to the fundamental principles of modernism to suggest that certain tenets of modernist thought should not be jettisoned so quickly, simply because digitization encourages open-ended viewing experiences.
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Culshaw, Laurie K. "Designing Connection." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3449.
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Social connection is an essential human need. Personal connections exist at a variety of depths and within different types of relationships. Small daily choices determine the strength of those connections and their impact on our well-being as individuals and as a community. Modern society and technology have altered the speed and channels of connection, increasing communication but decreasing meaningful connection. It is critical to understand how the methods of communication affect the depth of connections. Through a series of participatory graphic design projects, I analyze the strengths and weaknesses of one-on-one, small group and community connections within an established taxonomy of the levels of connection, to identify the factors that contribute to strong social relationships.
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Schlifer, Laura. "Unloosed: Designing Participatory Objects." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3386.
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The ubiquity of technology has mediated the means of receiving content through digital networks; users have complete control over receiving, shaping, and sharing information. In contrast to the inherent elasticity of these networks, physical pieces of communication often manifest through a closed and highly controlled process. However, the increased prominence of user-interaction with media provides an opportunity to evaluate the design process as it applies to the creation of physical objects. Throughout much of my work, I investigate the potential for unloosening the control of designed objects by inviting others into the design process. By considering the audience as active participants, rather than passive receivers of communication, the designer becomes a facilitator for communication. Through the design of frameworks, the designer relinquishes some control of form or content, allowing author and audience to coalesce.
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Wise, Ruth E. "Design Research and Research Design: Application of Quantitative Methodology to the Design Process." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1219093105.
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Thesis (Master of Design)--University of Cincinnati, 2008.Advisor: Peter Embi MD (Committee Chair), Mike Zender MFA (Committee Member), Mark Eckman MD (Committee Member) Title from electronic thesis title page (viewed Jan. 17, 2009). Includes abstract. Keywords: design research; quantitative methodology; graphic design; visual communication; risk communication . Includes bibliographical references.
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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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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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Kirchoff, Sarah M. "The influence of context on message-making and audience reception in graphic design /." Online version of thesis, 2008. http://hdl.handle.net/1850/6243.
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Cheung, Kwok-ming Frankie. "The impact of various compositional principles on visual perception of advertising graphic design." HKBU Institutional Repository, 1997. http://repository.hkbu.edu.hk/etd_ra/153.
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Steele, Quintin Jon. "Audio & Visual DesignDesigning Holistic Sensory Experiences within Environments." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470849876.
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Makryniotis, Thomas. "Identity through dress in virtual environments." Thesis, University of Kent, 2013. http://ualresearchonline.arts.ac.uk/7086/.
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The purpose of this thesis is to examine the formation of identity through dress in virtual environments, and to establish connections between identity, fashion, and virtual reality by means of language and semiology. The notion of identity through fashion in virtual environments is examined, with fashion as a factor in identity formation through dress as analysed in structuralist terms. The virtual aspect is used both as a literal field, i.e. the medium of video games and social networks that involve virtual avatars, and as theoretical testing ground from which to derive new results on the nature of dress and many of the aspects of clothing and fashion. The practical outcome of this research, a video game based on dress and narrative, serves as an applied experiment of the three main themes in this thesis and the relations and interactions between them, as well as a testing tool with which to challenge in a practical way the theories and speculations formed in the thesis. My methodology is based on structuralism and post-structuralism in the fields of linguistics, psychology and anthropology, with particular application to the visual media and virtual reality. I am using a post-structuralist approach as it has been the most dominant discourse of replacing economic and social (power) relations with codes and the interplay between signifiers and signifieds. This, I find, is the most appropriate method for analysing both virtual systems and fashion, because, on an atomic level, they both depend on variables such as words and numbers. The code is therefore the common denominator of both disciplines. Furthermore, both disciplines use narrative for their proper function, video games for their back story and motivation of the player, and fashion for its advertising and promotion, as well as through archetypes and symbols. Fashion in this context works as a catalytic agent between post-structuralist codes in modern media as texts, and video games.
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George-Palilonis, Jennifer. "Bridging the gap between visual rhetoric and newspaper graphic design : a case study." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1293515.
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A gap exists between the fields of visual rhetoric and newspaper graphic design caused by three factors: the historic division between words as communication tools and design as artistic effect, the relative youth of visual rhetoric, and the recent evolution of newspaper design as a visual language. This thesis establishes one bridge between visual rhetoric and newspaper graphic design by defining the rhetorical function of newspaper graphic design. Using case study methodology, this report focuses on the rhetorical role of newspaper design in an attempt to further understand how people extract meaning from the newspapers they read. By engaging readers with various newspaper pages and requiring them to comment on their direct interaction with the content, this research illuminates the role of newspapers' visual elements by exploring the following questions: What role do visual elements (i.e. pictures, graphics, color) play in a newspaper reader's meaning making processes? How do page layout and the presentation of story packages affect a reader's understanding and opinions of the information at hand?Department of English
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Hejdström, Aron. "Improving Swedish nature reserve visitor maps with focus on relevance and visual communication." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23709.
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At first glance, the image of a map looks familiar to a graphic designer. It comprisescolours, shapes and typography. But beyond the graphical surface it hides a complex system of techniques and rules, like the clockwork behind a dial. This thesis tries toapproach and improve map production from a starting point in graphic design. Byaddressing visitor maps for nature reserves it aims to make nature more accessibleand appealing to a larger group of people.The main purpose of the thesis is to examine how Swedish nature reserve visitormaps can be improved with focus on relevance for their aims and use and how thisis communicated through the visual presentation. A secondary purpose is to examinehow to produce such maps in a rational way, using digital geographic informationsystems (GIS) and adopted working processes.The research was conducted using a combination of traditional methods and techniques combined with research through design activity. Methods and techniques were gathered from ethnography, action-research and usability-research and include literature studies, interviews, questionnaire surveys, participatory observation, action-research protocols, beta-testing and collection of samples.The design activity resulted in both free-standing sketches and map-sketches forthe Gotlandic nature reserves Langhammars and Stora Karlsö. Two processes and one descriptive structure were developed and described: a process to adopt visual representations of map-information to its contextual relevance, a process to produce nature reserve visitor maps, and a structure to present practical design work in a scientificcontext. Results also comprised collected answers, discussions and samples from questionnaire surveys, participatory observation, interviews and general research.The thesis concludes that it is fruitful to consider the visitor map as “a product made for use” and apply a usability-approach as it is rather an example of visual information than visual communication. Close research of both sender and users is also important to be ableto select, adapt and fine-tune the information in the map in relation to its aims and use.The digital possibilities that enables GIS to provide easy accessible and accurate data can produce efficient workflows in map design if combined with the graphic designers experience to develop and streamline design processes. The combination of modern technology, practical design work and research is profitable in both an analogue and digital context and makes visitor maps a contemporary and interesting area for both researchers and practitioners.
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Faustino, Ana Rita de Figueiredo Teixeira. "Design de comunicação como estágio curricular na empresa Label Brand Studio." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2014. http://hdl.handle.net/10400.5/8105.
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Mejia, Ramirez German Mauricio. "Visual Communication Design for Human Differences and Needs: Visual Intelligence and Mood." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277124546.
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LINDQVIST, EMMA. "5-i-9." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17361.
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This bachelor degree work investigates fashion as a non-verbal form of communication by the use of prints. Prints in fashion design today are categorized as placed prints or all-over prints. This work explores new dimensions in the use of a placed print by allowing it to interact with garment and body. It strives to take the prints within fashion one step further then just been pure surface decorations. With the main inspiration in T-shirt print design, the aim is to investigate the relation between halftoned, placed prints and garment by trying to achieve a depth within the expression. The main focus in the process is to find and define the depth within the printed textile and then to be able to apply it on garments on the body. Through research in material transparency in combination with screen printing, the work strives for a 3D moiré effect while moving. The work is to be seen as a suggestion of principles for interaction between prints, garments and body and to open up for a more complex way of working with prints within fashion. The combination between the striking 3D prints and the sharp black and white halftones creates a dynamic line-up. The collection provides the viewer with recognisable graphic pictures and elements as well as more abstract prints through layering.In this work it is found a possible technique to allow a message in a print to be communicated stronger. Through layering the printed textiles a new dimension were added to the expression in the motives and garments when interacting with the body. The continuation of this could be to try this effect with different motives and messages to be told. An interesting point of view would be to start with the viewer or receiver rather then the designers personal development in the project. It could possibly be as simple as creating a traditional T-shirt print with the message to communicate. Another alternative could be to carry out the communication of the motive in a whole garment and in how different garment types meet each other.Program: Modedesignutbildningen
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Scherer, Brooke Nichole. "Globalization, culture, and communication proposal for cultural studies integration within higher education graphic design curriculum /." [Ames, Iowa : Iowa State University], 2010. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1476367.
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Olsen, Gisela. "Hur grafiska formgivare runt om i världen uppfattar skandinavisk grafisk design." Thesis, Högskolan Dalarna, Grafisk teknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-22402.
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Syftet med föreliggande studie har varit att kartlägga hur grafiska formgivare runt om i världen uppfattar skandinavisk grafisk design. 53 deltagare från industriländer deltog i studien som använde en kombination av mail-intervjuer och enkäter. Resultaten från denna studie indikerar att, oavsett kontinent, upplevs skandinavisk grafisk design som enkel och funktionell. Layouten uppfattades som rutnätsbaserad med mycket ljusrum och få grafiska element. Monokroma färger som svart, vit och grå utan gradienter och skuggor uppfattades som typiska för skandinavisk grafisk design; följt av jord- och pastellfärger. Sanserifer var mest förknippade med skandinavisk grafisk design. Motiv ansågs i denna studie att användas sparsamt, men när de används avbildar de naturen eller geometriska former. Foton och illustrationer ansågs användas ungefär lika mycket, illustrationer hade en smärre större preferens. Den upplevda påverkan av skandinavisk grafisk design varierade mellan deltagarna. Deltagarna som tyckte att påverkan var stor, ansåg att detta berodde på förespråkandet av enkelhet och funktion, sammanflätning av designområden och/eller frammaning av hållbar grafisk design. Deltagarna som ansåg att påverkan var låg, tyckte att för lite publicitet var en bidragande faktor.De flesta deltagarna i denna undersökning ansåg att skandinavisk grafisk design var enklare i jämförelse med vad de kunde se i sina hemländer. Vidare tyckte afrikanska, asiatiska och sydamerikanska deltagare att färgerna hade lägre kroma.The aim of the present study was to determine how graphic designers around the globe perceive Scandinavian graphic design. 53 participants from industrial countries around the world partook in the study, which used a combination method of mail interviews and questionnaires.The results of this study indicated that, regardless of continent, Scandinavian graphic design was perceived as simple and functional. The often grid-based layout favored the use of sans-serifs, white space and few graphic elements according to the participants in this study. Achromatic colors such as black, white, and grey without gradients and shadows were preferred. Followed by earthy and pastel hues. Motifs were used sparingly, but when they were, they depicted elements found in nature or geometric shapes. Photos and illustrations were perceived to be equally in use, with a slight inclination towards illustrations being used more. The perceived impact of Scandinavian graphic design was wide-ranging. The participants who found the impact to be high were due to advocating simplicity and functionality, intertwining design fields, and/or raising awareness of conscious graphic design. The participants, who found the impact to be low, believed that too little exposure was a contributing factor. Most participants in this study considered Scandinavian graphic design simpler in comparison to what they can see in their own countries. Furthermore, African, Asian and South American participants perceived the colors to be lower in chromatic value.
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Schumacher, Allison N. "Crafting Authenticity." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1900.
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Authenticity is what we want from the world around us, from others, and crucially from ourselves and what we make. As it relates to graphic design, I define authenticity as a perceived match between form and purpose. For the designer, its quality is found in the process of simultaneously developing a concept and crafting the design/object.
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Walker, James. "Experience as an Experiment." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3036.
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My work is an exploration of new media that demonstrates the influence a community has on visual communication. The community reveals content as objects go unnoticed after they become a permanent part of the landscape and assumptions are made from cultural archetypes. Through exploration, immersion, and reflection, I am able to recognize the invisible and expected, establish a familiarity with a community, and design responses that communicate directly to it.
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Forte, Maria João dos Santos Monteiro. "Design de comunicação e a sua aplicação na concepção e construção de eventos." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2016. http://hdl.handle.net/10400.5/12562.
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Friedman, Tanya Corinne. "An investigation of alternative communication methods to face to face interaction between designer and client throughout the design approval process /." Online version of thesis, 1995. http://hdl.handle.net/1850/12189.
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Lull, Erica L. "Understanding standard graphic labeling as a means to inform and influence consumer purchasing choices with regard to artificial food additives." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524249276548509.
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Dunbar, Michael James, and miek@collabo net. "Beyond Skin Deep: Exploring the contribution of communication design within interaction design projects." RMIT University. Media and Communication, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091029.110723.
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This research has explored potential ways for understanding the contribution communication design makes within the field of interaction design; specifically projects that have involved the design of web-based interactive systems. As a practice-based design investigation, this research has been conducted through a series of interaction design projects within the context of a Collaborative Research Centre, and have often included working with industry partners. I will refer to these as projects throughout this exegesis. In this exegesis, I will argue that communication design can make a valuable contribution to interaction design projects, and that this contribution can be facilitated by understanding interactive systems in terms of the role that they play in our everyday experience of the world. This exegesis presents the central argument of the research and how the research questions were investigated. It presents the projects through which the research has been conducted, and through discussion, presents the discoveries and knowledge gained through this research. The total submission for this research consists of the exegesis, exhibition, and oral presenation. Throughout each mode of delivery I will share how the research questions were investigated.