Relevant bibliographies by topics / DESIGN / Graphic Arts / General / Dissertations / Theses
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Dissertations / Theses on the topic 'DESIGN / Graphic Arts / General'

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Published: 4 June 2021
Last updated: 31 July 2024

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1

Tedeschi, Carla. "Design theory and methodology /." Online version of thesis, 1992. http://hdl.handle.net/1850/11771.

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Plouffe, Danielle Grace. "Graphic design career information /." Online version of thesis, 1993. http://hdl.handle.net/1850/11960.

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Snape, Jason J. "Humor as an element in graphic design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11218.

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4

Zalewski, Sondra. "Design, graphic arts, and the environment /." Online version of thesis, 1994. http://hdl.handle.net/1850/12205.

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5

Neff, Mary Kay. "Educational/informational posters on graphic design /." Online version of thesis, 1987. http://hdl.handle.net/1850/10325.

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6

Stacy, Michelle A. "Graphic design and the unconscious codes /." Online version of thesis, 1992. http://hdl.handle.net/1850/11761.

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7

Settergren, Jane Ann. "PresentationMaker : Graphic Design Archive module 3.2 /." Online version of thesis, 1992. http://hdl.handle.net/1850/11072.

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8

Kuhn, Simon. "Critical design within the practice of graphic design." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1007843.

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Critical Design is a specific type of design activity that has emerged from within the field of product design. Based on the supposition that design is an ideological activity, it can either be critical or affirmative of the status quo and categorised as Critical Design or Affirmative Design. The intention of this study is to create Critical Design within the practice of graphic design. Critical Design was defined by identifying its key characteristics and then visualised into a diagram that maps the pathways, processes and consequences which distinguish Critical Design from Affirmative Design. The characteristics were used to generate criteria of Critical Design, which were then used to analyse case studies. The findings from this analysis suggested that both case study projects could be defined as Critical Design and served as a way of testing the appropriateness of the criteria. The practical component of this study used the characteristics of Critical Design to create a range of graphic design artefacts and then analysed them in relation to the criteria of Critical Design. The findings from this analysis determined the practical component as Critical [Graphic] Design and suggested that graphic design can be an appropriate medium for critique of its own role within society.
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Sisson, Laurel. "Experiential design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11222.

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10

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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11

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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Viseshsin, Jongruja Mai. "The multiple dimensions of graphic design /." Online version of thesis, 1992. http://hdl.handle.net/1850/11629.

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13

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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14

Sauthoff, Marian Dene. "Conceptual frameworks and interpretive strategies in graphic design." Pretoria : [s.n.], 2006. http://upets.up.ac.za/thesis/available/etd-08022006-165847/.

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15

Muir, Margot. "Beyond commercial design: a critique of design and graphic design writings in Emigre and Dot Dot Dot magazines." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/12436.

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Graphic design faces the contradictions of commercial intent and social relevance. This study explores the contribution of criticism, in two independent, seminal graphic design magazines, towards shifting the dominant preferences of graphic design from a purely commercial pursuit to a human-centred practice. Emigre magazine (c.1984 - 2005) and Dot Dot Dot magazine (c.2000 - 2010) are recognised for their critical intent and within them are emerging critical issues that suggest a potential niche for graphic design beyond consumerism and commerce. In the discipline of graphic design, designers define what it is to be human (and thus equally the realities of dehumanisation) in very particular ways (Rose, 2001:135; Freire, 1993:43). Graphic design has a history of commercial practice. This commercial history continues to define its identity and reinforce a particular body of knowledge. Graphic design criticism, however, is an inventive voice that has the potential to contribute to change. Both Emigre and Dot Dot Dot were representative of a “constructive marginality” (Bennett, 1993:64), drawing from their own set of references and awareness of graphic design’s potential to inform their identities, instead of looking to established definitions of practice to do so. This analysis explores how they anticipated a modern conception of graphic design that has become part of a recently adopted (2015) and more widely embedded discourse. This discourse involves critical design that interrogates multiculturalism, interdisciplinarity, environmental sustainability, social and political agency, and speculative futures. Graphic design engages social institutions and practices that denote social constructions of difference and inequality, and is never neutral. Any work, any representation of ideology, is at once individual and discursive at the level of social, cultural and political formations. The critical issues evident in Emigre and Dot Dot Dot, with the exception of an absence of speculative futures, anticipate a more humanising perspective in graphic design. They invite critique and the potential for change that is relevant to the surrounding world, as a counter to commercial self-interest.
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16

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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17

Hayward, Ken. "Navigational tool for the Graphic Design Archive /." Online version of thesis, 1989. http://hdl.handle.net/1850/10847.

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18

LaMarca, David J. "Graphic Design Archive : Lester Beall collection /." Online version of thesis, 1990. http://hdl.handle.net/1850/11299.

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19

Girouard, L. Clay. "Historic graphic design at RIT /." Online version of thesis, 1990. http://hdl.handle.net/1850/10948.

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Thesis (M.F.A.)--Rochester Institute of Technology, 1990.
Accompanied by a catalog: An exhibition of historic graphic design from the collections of Rochester Institute of Technology. Typescript. Includes bibliographical references (leaf 99).
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20

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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21

Britt, Cathleen. "Interactive interface design : Graphic Design Archive phototype 2.0 /." Online version of thesis, 1989. http://hdl.handle.net/1850/11542.

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22

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

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23

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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24

Michael, David E. "User difference and graphic design : some studies with flow charts." Thesis, Keele University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.257477.

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25

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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26

Smith, Cynthia S. "The interactive orientation module for the electronic archive resource of the National Graphic Design Archive /." Online version of thesis, 1992. http://hdl.handle.net/1850/11677.

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27

Wicomb, Samuel Domingo. "Graphic design students’ perceptions of work practice." Thesis, Cape Peninsula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2391.

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Thesis (MTech (Graphic Design))--Cape Peninsula University of Technology, 2016.
The aim of this study was to examine how students experience the transition from the classroom to the workplace. This research explored what factors students found problematic and which factors was helpful during the transition. This research was qualitative and this study focused on the experiences of the participants and all data was collected from their perception of work practice. I used Activity Theory as a theoretical framework to compile and organize relevant data. Data was gathered using video recordings, hand written journal entries and individual interviews. The research was conducted in an on-campus design studio that is situated within the Design Faculty at Cape Peninsula University of Technology. The reason for choosing Design Logic as a site is the following; the studio sits neatly between the classroom and the workplace, although the studio is in a protected environment, most of the elements that are present in a real world setup is reflected within Design Logic i.e. the stresses of satisfying demanding clients, working with budgets, liaising with suppliers and the ever present looming deadlines all form part of the daily make-up of Design Logic. Although the starting point of the study was to search for the problem areas of the student’s transition into the work place, the analyzed data revealed the dissimilarities between the two systems and how the participants overcame the difference i.e. shifting identities and rules and norms to develop new skills suited for the work place. The workspace opened a Zone of Proximal Development (ZPD) and highlighted the value and importance of work practice in preparation of graduates for industry.
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28

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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29

Turransky, Alan Greg. "Capturing graphic design knowledge from interactive user demonstrations." Thesis, Massachusetts Institute of Technology, 1993. http://hdl.handle.net/1721.1/62623.

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30

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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31

Hilton, Laura Jayne. "The Gothic double in the contemporary graphic novel." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/928/.

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This thesis examines the role of the Gothic double as articulated within the contemporary graphic novel. Discussing representations, interpretations and subversions of the Gothic double, the analysis will apply a synthesised theoretical framework of the psychoanalytical double and literary double to five key works from three canonical creators: Neil Gaiman, Frank Miller and Alan Moore. The discussion will be divided into three sections in order to focus on three recurring motifs in the image-text hybrid of the contemporary graphic novel. Firstly, a discussion of superheroes, SF and the Gothic double aims to explore how works such as The League of Extraordinary Gentlemen and Batman: The Dark Knight Returns combine innovative approaches to the superhero with direct reference to SF and the motif of the Gothic double. Section two offers a reading of how Neil Gaiman’s A Game of You subtly explores complex issues of gender and sexuality in relation to the Gothic double. Section three discusses the urban Gothic, exploring the dualistic presentation of the city in both From Hell and Sin City alongside an interpretation of how each text approaches the issue of prostitution. Throughout, the discussion will approach these graphic novels as literary works and will focus on the analysis of narrative elements including structure, characterisation and, of course, genre.
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32

Wang, Shyang-Yuh S. "Identification of the significant competencies in graphic design." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4332.

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Thesis (Ph. D.) University of Missouri-Columbia, 2006.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 9, 2007) Vita. Includes bibliographical references.
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33

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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34

Norton, William Kelly. "Finishing touches : adaptive graphic design that leverages human creativity." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36150.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.
Includes bibliographical references (p. 87-89).
This thesis proposes the investigation of a distributed architecture to facilitate automatic adaptation of graphical representation in digital documents to constraints imposed by the presentation device. The goal of the system is to select the most effective graphical solution from among a set of such solutions given the characteristics of the viewing environment (i.e. resolution, screen area, aspect ratio, color depth) or to determine that all available solutions lie below a specified effectiveness threshold in order to prompt manual, human redesign for that particular case. Such a system demonstrates a new hybrid architecture for problem-solving systems that is able to leverage the systematic protocols of pure computing systems with the creative intelligence of human invention.
by William Kelly Norton, Jr..
S.M.
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35

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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36

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 challenge—to develop open-ended systems that adapt to dynamic content, customization, and multiple authorship—can 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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37

Enroth, Maria. "Developing tools for sustainability management in the graphic arts industry." Doctoral thesis, Stockholm : Computer Science and Communication, Royal Institute of Technology (KTH), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4169.

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38

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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39

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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40

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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41

Yu, Kim Stella. "Activities of mid-weight graphic designers during the conceptual design phase a case study /." Swinburne Research Bank, 2009. http://hdl.handle.net.

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Thesis (MDes) - Faculty of Design, Swinburne University of Technology, 2009.
[Submitted in total fulfillment of the requirements of the degree of] Master of Design, Faculty of Design, Swinburne University of Technology - 2009. Typescript. Bibliography: p. 178-186.
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42

Ho, Daniel Sze-Hin 1979. "Graphic design in Republican Shanghai : a preliminary study." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98930.

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This thesis is a preliminary investigation into graphic design in 1920s and 1930s Shanghai. I will look at creations of designs on the covers of books and periodicals most closely linked to new literary groups, for that was where a distinctive new idiom of design emerged. I will concentrate on a few figures, including Lu Xun, Tao Yuanqing, Chen Zhifo, and Qian Juntao. Biographical information for each is given, followed by preliminary analysis on some cover designs. Topics covered include artistic characters, the principles of tu'an (a particular understanding of design), and influences from Japan and the West.
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43

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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44

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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45

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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46

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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47

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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48

Jordan, Jessica. "Designing for digital : skill sets needed to design for variable data /." Online version of thesis, 2009. http://hdl.handle.net/1850/10895.

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49

Garay, Camila, and Emilia Millner. "Expressive Generation - Educational Guerilla Marketing." Thesis, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23003.

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“A creative city requires creative solutions” was one of the many insights we got when conduction our examination project together with a Minor Field Study, in Cape Town/South Africa. This report is a window into our South African design adventure and explores the question; how can we create an expressive and dynamic campaign that will succeed in a vibrant city like Cape Town? Under the wing of our assigners at The Frank Joubert Art Centre we created an edgy and interactive campaign for The Expressive Generation Exhibition, that plays with both its environment and its viewer. Our extensive research gave birth to a new design concept; Educational Guerrilla Marketing, with the context of involving the young artists and designers in their own exhibition advertisement. So, how did we manage to combine a design examination project with a social-focused SIDA-report and at the same time get a life changing experience? The following pages will paint you the picture.
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50

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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