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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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Seabra, Margarida Maria Ortigão Ramos. "A coerência gráfica do design de comunicação da identidade visual." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/13876.
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Dissertação de Mestrado em Design, com a especialização em Design de Comunicação, apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.<br>Por ocasião da finalização do mestrado em Design de Comunicação, surge a necessidade e o desejo da realização de um estágio dentro da área. O principal objetivo no decorrer do estágio foi atingir resultados sobre a temática da identidade visual que possam vir a ser úteis para os profissionais da área do design. Para além disto, foi uma forma de aplicar todos os conhecimentos adquiridos no percurso académico da mestranda, tendo assim um contacto real com o mercado de trabalho, onde teve a oportunidade de aprender novas técnicas e metodologias.
Ao longo deste trabalho é realizado um estudo sobre a coerência gráfica na comunicação da Identidade Visual das marcas, através do trabalho desenvolvido durante o estágio. Um designer deve sempre ter em conta o modo como a identidade visual de uma marca foi utilizada anteriormente, para que consiga ser coerente. Deve ainda procurar esta coerência entre os diversos suportes e elementos utilizados.
A empresa escolhida para esta investigação ativa foi a J.W.Thompson Lisboa, responsável por vários marcas como Montepio, O Bongo, IKEA e Galp, no entanto a mestranda esteve maioritariamente inserida em projetos referentes à marca Vodafone. O principal interesse por esta agência surgiu da fidelidade que estas marcas têm com a mesma e pela natureza
dos trabalhos que produz.
Pretende-se que através da presente investigação, recorrendo a livros como “Design de Identidade da Marca”, de Alina R.Wheeler e “Design de Identidade e Imagem Corporativa” de Daniel Raposo, em conjunto com a avaliação dos casos de estudo selecionados, seja atingida por parte da mestranda a capacidade de ser coerente na utilização da Identidade Visual de uma marca.<br>ABSTRACT: Within the context of the completion of the master’s degree in Commu¬nication Design, arise the need and the desire of a development of an internship within the graphic design area. The main objective of the in¬ternship was achieving results on the topic of visual identity that may be useful to design professionals. In addition, it was a way to apply all the knowledge acquired in the Master’s degree, thus having a real contact with the labor market, where she had the opportunity to learn new techni¬ques and methodologies.
This work aims to study the graphical consistency in communicating the visual identity of the brand, having as example the work developed during the internship. A designer should always have concern about the ways that the visual identity of a brand has been used previously, to be consistent in the next projects. It is also very important to have this consistency between the various media and all the elements.
The company chosen for this active investigation was J.W.Thompson Lisbon, responsible for various brands like Montepio, Bongo, IKEA and Galp, but the graduate student was mostly set in projects related to the Vodafone brand. The main interest in this agency grew out of the loyalty that these brands have with them and, of course, the nature of the work they produce.
It is intended that through this investigation, using books such as “Brand Identity Design” by Alina R.Wheeler and “Design de Identidade e Imagem Corporativa” de Daniel Raposo, together with the assessment of the se¬lected case studies, be achieved the ability to be consistent in the use of the visual identity of a brand.<br>N/A
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Mano, M. C. D. "Graphic material as an element to enhance personalised funerals." Interim : Interdisciplinary Journal, Vol 7, Issue 1: Central University of Technology Free State Bloemfontein, 2008. http://hdl.handle.net/11462/382.
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Published Article<br>Personalised funerals are defined as modernised, innovative, customised and specialised types of funerals. Personalised funerals are performed to reflect the individual's life and what he or she has accomplished (Broadbent 2002; Wolcott 1999). The aim of this study was to establish if there is a niche in South Africa for graphic material for personalised funerals. The importance of a personalised funeral is to comfort the attendees and avoid the funeral being too traumatic. One of the main questions that arose during this study is how well South Africans react to the idea of personalised funerals? Traditional funerals are gradually being improved by means of creating a more modernised and customised funeral. Funerals now include pictures, photographs and even slide shows of the deceased person (Jenga 2001). Informal receptions with bright colours and even a party after the services are becoming the preferred method (Edwards 2002). Orchids instead of roses, favourite songs instead of Bach, touching poems instead of traditional prayers (Wolcott 1999), slay coffins instead of a plain wooden coffin (Eybers 2007) all emphasise the need for personalised funerals. The aim of the first questionnaire was to establish if there is a niche in South Africa for graphic design material for personalised funerals and to assist with the various design implications that can be used in a funeral pamphlet. A second questionnaire was developed in order to include the opinion of a professional in the funeral industry, which could be beneficial in the design process. Through analysing these questionnaires, various design concepts were developed and applied to funeral pamphlets. The funeral industry already provides various services, for example catering, hiring of tents and vehicles. Why not graphic designers? The author of this study postulates that this could possibly develop a trend or need in South Africa, and expose more and more South Africans to personalised funerals.
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Quam, Andrea. "Fundamentals in Nature." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1597.
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Lewitzki, Alexander. "Taking control of the horror : Working with visuals in the psychological horror game genre." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-63981.
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Horror, one of the most popular genres of entertainment, can be quite hard to get right. This report explores the visual subject of psychological horror in games, aiming to answer the following questions: How is the genre handled in movie production? How have previous game developers done this, both for bigger productions as well as indie games? How well did the chosen movies and games manage to translate the horror feeling into the visuals? The chosen method to determine this is image analyses and surveys. The results showed that there are not many differences between how the genre is handled in movies compared to games, though there are a few. Results from the surveys showed that games are more often perceived scary and disturbing on a higher degree than movies.<br>Skräck, en av de mest populära genrerna inom underhållning, kan vara ganska svår att få till. Den här rapporten utforskar de visuella ämnenena inom psykologisk skräck i spel, utifrån följande frågeställningar: Hur hanteras genren inom filmproduktion? Hur har tidigare spelutvecklare genomfört detta, både för större produktioner och för indiespel? Hur väl har de utvalda filmerna och spelen lyckats översätta skräckkänslan i det visuella? Den valda metoden för att fastlägga detta är bildanalyser och enkätundersökningar. Resultaten visar att det inte finns många skillnader mellan hur genren hanteras inom film jämfört med spel, även om det finns några. Resultat från enkätundersökningarna visar på att spel oftast ses som läskigare och obehagligare på en högre nivå än filmer.
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Taú, Marcio Rodriguez. "Design em movimento: elementos da linguagem gráfica nos créditos de abertura de filmes." Universidade Anhembi Morumbi, 2017. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1716.
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Previous issue date: 2017-02-23<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This dissertation investigates the use of graphic elements in the cinema, with the purpose of
understanding how the design can collaborate to the construction of the audiovisual message and to identify the potentialities that the movement can add to the graphic compositions in open titles film. The project started with the realization that more and more graphic designers have the need to incorporate time and movement into their multiplatform projects, which in turn raises a number of theoretical and practical reflections. Thus, within the delimited theoretical scope, subjects related to moving image, principles of animation, digital graphic design, motion graphics and the graphic design in the cinema and open titles films were approached through authors like Arlindo Machado ( (2005 and 2010), Gilles Deleuze (1985 and 1990), Paul Wells (1998 and 2008), Donis Dondis (2007), Ellen Lupton (2013 and 2015), Matt Woolman (2004), Lev Manovich 2007, 2008 and 2012) and Gemma Soloma and Antonio Boneu (2007), among others. Finally, as a case study, a brief contextualization is presented, followed by the analyzes of the opening credits of the films: “Até que a sorte nos separe 2” (2013, direction: Roberto Santucci) and “Meu passado me condena: o filme”(2013, directed by: Julia Rezende). The proposal to choose these films was to provide a look at the contemporary production of Brazilian audiovisual graphic design, as well as to enable a study on open titles national films - not identified in the literature of the area consulted in this research<br>Essa dissertação investiga o uso de elementos gráficos no cinema, com o objetivo de entender como o design pode colaborar para a construção da mensagem audiovisual e identificar as potencialidades que o movimento pode acrescentar às composições gráficas em créditos de aberturas de filmes. O projeto partiu da constatação de que cada vez mais os designers gráficos tem a necessidade de incorporar o tempo e o movimento em seus projetos multiplataformas, o que suscita, por sua vez, diversas reflexões de ordem teórica e prática. Assim sendo, dentro do escopo teórico delimitado, foram abordados assuntos referentes à imagem em movimento, princípios da animação, design gráfico digital, motion graphics e o design gráfico no cinema e em créditos de abertura de filmes, por meio de autores como Arlindo Machado (1997, 2005 e 2010), Gilles Deleuze (1985 e 1990), Paul Wells (1998 e 2008), Donis Dondis (2007), Ellen Lupton (2013 e 2015), Matt Woolman (2004), Lev Manovich (2005, 2006, 2007, 2008 e 2012) e Gemma Soloma e Antonio Boneu (2007), entre outros. Por fim, é apresentado, como estudo de caso, uma breve contextualização seguida das análises dos créditos de abertura dos filmes: "Até que a sorte nos separe 2" (2013, direção: Roberto Santucci) e "Meu passado me condena: o filme" (2013, direção: Julia Rezende). A proposta de escolher esses filmes foi a de propiciar um olhar sobre a produção contemporânea do design gráfico audiovisual brasileiro, além de possibilitar um estudo sobre créditos de abertura de filmes nacionais – não identificado na literatura da área consultada nesta pesquisa.
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Lucich, Rodriguez Diego Alonso. "El papel de los escenarios en el proceso de inmersión de los jugadores explorers dentro del género de aventura en los videojuegos." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657149.
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La presente investigación tuvo como objetivo determinar el rol de los elementos gráficos de los escenarios de los videojuegos del género de aventura en el proceso de inmersión de los jugadores explorers. Por ello, se propuso realizar un análisis de la construcción y el diseño de escenarios en videojuegos para poder así reconocer qué elementos gráficos están presentes en su desarrollo y, de esta manera, poder determinar si contribuyen a que se dé la inmersión.
Se llevó a cabo un estudio cualitativo transversal en el que se analizaron dos videojuegos pertenecientes a este género: Uncharted (2016) y The legend of zelda “Breath of the wild” (2017). Estos títulos presentan mecánicas similares con estilos gráficos diferentes, para poder analizar cómo el elemento gráfico influye en la experiencia. Entre los principales hallazgos, se determinó que los entornos realistas, la presencia de colores icónicos y una perspectiva de tercera persona son los elementos que tienen mayor tendencia a generar la sensación de inmersión debido a la gran cantidad de información que tiene que decodificar el jugador.
Si bien se determinó que los elementos gráficos de los escenarios sí forman parte de la inmersión de los jugadores explorers, también es cierto que no son el elemento más importante, ya que se determinó que la inmersión en un videojuego puede ser generada por cualquier estímulo fuerte que genere emoción y motivación en el jugador. Por lo tanto, la suma de varios estímulos solo va a mejorar y potenciar la experiencia inmersiva.<br>The objective of this research was to determine the role of the graphic elements of the adventure genre video game scenarios in the immersion process of the explorer’s players. For this reason, it was proposed to carry out an analysis of the construction and design of scenarios in video games to be able to recognize what graphic elements are present in their development and, in this way, to be able to determine if they contribute to immersion.
A qualitative cross-sectional study was carried out in which two video games belonging to this genre were analyzed: Uncharted (2016) and the legend of Zelda “Breath of the wild” (2017). These titles feature similar mechanics with different graphic styles, so you can analyze how the graphic element influences the experience. Among the main findings, it was determined that realistic environments, the presence of iconic colors and a third-person perspective are the elements that have the greatest tendency to generate the sensation of immersion due to the large amount of information that the player has to decode.
Although it was determined that the graphic elements of the scenarios are part of the immersion of the explorer’s players, it is also true that they are not the most important element, since it was determined that immersion in a video game can be generated by any strong stimulus that generates emotion and motivation in the player. Therefore, the sum of various stimuli will only enhance and enhance the immersive experience.<br>Trabajo de investigación
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Marques, Tomás Cardoso. "O contributo do design gráfico para a comunicação visual em ciência." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2016. http://hdl.handle.net/10400.5/13463.
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Bozzo, Muro Fiorella. "Reconfiguración de la jerarquía visual de los elementos gráficos en personas con discromatopsia." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/651606.
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El objetivo de esta investigación fue determinar cómo la anomalía perceptiva del color reconfigura la jerarquía visual. Por ello, la hipótesis que se planteó fue que utilizar el contraste en otros elementos gráficos, además del color, permitirá que la gráfica sea mejor percibida por personas con discromatopsia.
La metodología utilizada fue, primero el cuestionario para obtener el porcentaje de medios más consumido por la muestra. Segundo, se adaptó el Checklist Sirius según los criterios que cumplían con los fundamentos de diseño de Wong. De esta forma, se recolectaron datos sobre los elementos de diseño que permiten que las personas con discromatopsia perciban con mayor efectividad el producto visual.
Los resultados reflejaron que las personas con discromatopsia no presentan diferencias de percepción en cuanto al logotipo de la página web analizada y la compresibilidad de las fotografías. Sin embargo, presentan diferencias entre 16,7% y 33,3% en cuanto a la legibilidad del texto, las zonas en blanco, el uso correcto del espacio visual, los íconos, las secciones de la página, la cantidad de contenido informativo y texturas.
En conclusión, se pudo confirmar que existen otros elementos visuales, además del color, que las personas con discromatopsia o tricromatopsia rojo - verde toman en cuenta para interpretar la información de la página web de El Comercio. Tanto la sobrecarga informativa y una interfaz limpia sin ruido visual, son relevantes para que la gráfica sea mejor percibida por personas con discromatopsia en comparación con personas sin anomalías perceptivas del color.<br>The objective of this investigation was to determine how the perceptual anomaly of color reconfigures the visual hierarchy. Therefore, the hypothesis that was raised was that using contrast in other graphic elements, in addition to color, will allow the graphic to be better perceived by people with dyschromatopsia.
The methodology used was, first the questionnaire to obtain the percentage of the media most consumed by the sample. Second, the Sirius Checklist was adapted according to the criteria that met Wong’s design fundamentals. In this way, data was collected on the design elements that allow people with dyschromatopsia to perceive the visual product more effectively.
The results showed that people with dyschromatopsia do not present differences in perception regarding the logo of the analysed website and the compressibility of the photographs. However, they show differences between 16,7% and 33,3% in terms of the readability of the text, the blank areas, the correct use of visual space, the icons, the sections of the page, the amount of informative content and textures.
In conclusion, it was possible to confirm that there are other visual elements, in addition to color, that people with dyschromatopsia take into account to interpret the information on the website elcomerio.pe. Both, the information overload and a clean interface without visual noise are relevant elements that contribute to make the graphic better perceived by people with dyschromatopsia compared to people without perceptual color abnormalities.<br>Trabajo de investigación
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André, José Carlos Mendes. "Elementos para uma leitura da obra de Aparício Torelly, o Barão de Itararé: humor, projeto & design gráfico." Universidade de São Paulo, 2004. http://www.teses.usp.br/teses/disponiveis/16/16131/tde-06052010-113840/.
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Esta dissertação é uma monografia sobre a obra do humorista Aparício Torelly, o Barão de Itararé. A idéia principal foi levantar um escopo de elementos analíticos: históricos, documentais, metodológicos e teóricos, necessários à formulação de hipóteses futuras. A dissertação foi concebida em três partes distintas. A primeira é dedicada aos antecedentes: aspectos da História do Brasil relevantes para o tema; sumário biográfico de autor e obra; levantamentos, inventário e comentário das fontes de pesquisa, e futuros desdobramentos. A segunda parte é dedicada às questões metodológicas e aponta para discussões: da Filosofia da Ciência e da Epistemologia; sobre as contribuições da nova historiografia relacionadas aos aspectos formais do discurso das artes visuais e, por último, sobre o debate a respeito do Humor . A terceira parte é dedicada à questão do processo criativo e produtivo nas Artes Gráficas vis-a-vis o resumo da história destas artes; apresentação de novos dados inéditos coletados a partir da pesquisa de campo; e descrição e comentário analítico sobre os elementos formais do discurso da obra estudada.<br>This essay is a monograph about the work of the humorist Aparício Torelly, nicknamed Barão de Itararé. The main idea was to report a set of analytical elements: historical, documental, methodological and theoretical, essentials to formulate future hypothesis. The essay was conceived in three different parts. The first one is dedicated to the antecedents: aspects of Brazilian History important to the theme; biographic and work briefing; searches, inventory and comments on the research sources and future unfolding. The second part is dedicated to the methodological questions and point to discussions about: Philosophy of Science and Epistemology; the contribution of the new history related to the structural aspects of the visual arts speech and, at last, the discussion on humour. The third part is dedicated to the question of creative and productive process in Graphic Arts, presentation of unpublished new data collected from the field research; and description and analytical comments about the structural speech elements of the studied work.
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Salgado, Renato. "Projeto de sinalização em parques urbanos: sistematização de elementos estruturadores a partir de exemplos no município de São Paulo." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-13082013-144046/.
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O campo de sinalização de parques urbanos requer metodologia de desenvolvimento de projetos com procedimentos transdisciplinares e complexos que pedem expertises variadas, desde aspectos objetivos como repertório técnico-construtivo e gráfico, até saberes mais subjetivos tais como a percepção espacial, antropologia do espaço e comunicação. A sistematização dos elementos componentes do projeto de sinalização auxilia na compreensão desta complexidade. A pesquisa elabora, fundamentada em revisão bibliográfica, um apanhado histórico da evolução técnica, de linguagem e dos elementos estruturadores em projetos de sinalização em parques urbanos. A partir deste repertório metodológico, analisa a sinalização em 06 parques no município de São Paulo que, em contextos diferentes, elaboraram respostas práticas a essa complexidade.<br>Signage in urban parks requires project development methodology with transdisciplinary and complex procedures that demand various types of expertise, ranging from objective aspects such as a technical-constructive and graphic repertoire, to more subjective knowledge such as spatial perception, anthropology of the space, and communication. The systematization of composing elements in the signage project helps understand this complexity. Using a bibliographical revision as a base, this research elaborates a historical overview of the techinical evolution, language and structuring elements in signage projects in urban parks. As a response to this methodological repertoire, it analyzes the signage in 06 parks in the city of São Paulo that have offered practical answers to this complexity, according to different contexts.
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Ramos, Inês Margarida Madeira. "A identidade visual como elemento de expressão de uma marca." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/13841.
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Лісниченко, Валерія Олегівна. "Роль ілюстрації у дитячих науково-популярних виданнях". Магістерська робота, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18115.
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У дипломній роботі надані результати дослідження особливостей ілюстрації як елементу оформлення дитячого видання. Проаналізовано особливості дитячої ілюстрації, історію її розвитку, сучасні тенденції, елементи складової частини та техніки і методи виконання. Отримані результати були використані для створення серії ілюстрацій та макету дитячої книги. У процесі роботи було виявлено, що ілюстрація є складовим елементом видання, який повинен гармонійно інтегруватися у текст, будуючи цілісну композицію всієї книги. Підкреслено, що художня розробка стилістики зображення впливає на загальне сприйняття літературного твору. Встановлено, що великий влив на формування цілісної серії ілюстрацій має створення характерної форми, використання певної кольорової гами та техніки виконання. Впроваджено підхід поетапної взаємодії технічних та естетичних методів проектування, що оптимізувало процес розробки дитячої книги.<br>В дипломной работе представлены результаты исследования особенностей иллюстрации как элемента оформления детского издания. Проанализированы особенности детской иллюстрации, история ее развития, современные тенденции, элементы составляющей части, а также техники и методы выполнения. Полученные результаты были использованы для создания серии иллюстраций и макета детской книги. В процессе работы было выяснено, что иллюстрация является составляющей частью издания, которая должна гармонично интегрироваться в текст, принимая участие в построении целостной композиции всей книги. Подчеркнуто, что художественная разработка стилистики изображения влияет на общее восприятие литературного произведения. Установлено, что большое влияние на формирование целостной структуры серии иллюстраций имеет создание характерной формы, использование определенной цветовой гаммы и техники исполнения. Внедрено подход поэтапного взаимодействия технических и эстетических методов проектирования, что оптимизировало процесс разработки детской книги.<br>The thesis presents the results of a study of the features of illustration as an element of design of a children's publication. Features of children's illustration, history of its development, modern tendencies, elements of a component, and also techniques and methods of performance are analyzed. The obtained results were used to create a series of illustrations and a layout of a children's book. In the process, it was found that the illustration is an integral part of the publication, which should be harmoniously integrated into the text, taking part in building a holistic composition of the whole book. It is emphasized that the artistic development of the style of the image affects the general perception of the literary work. It is established that the creation of a characteristic shape, the use of a certain color scheme and technique of execution has a great influence on the formation of the integral structure of a series of illustrations. The approach of step-by-step interaction of technical and aesthetic design methods is introduced, the process of children's book development is optimized.
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Raposo, João Rocha. "Análise arquetípica do padrão relacional dos elementos do Design em revistas digitais." Universidade Federal do Maranhão, 2014. http://tedebc.ufma.br:8080/jspui/handle/tede/1685.
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Previous issue date: 2014-10-27<br>The digital platform brought a new form of narrative in the communication field. Therefore, a reading relationship emerges. It was before based on a static visual and textual content and became innovative ways of the digital magazines universe, characterized by the incorporation of dynamic elements such as audio, video and interactive infographics. The connection with the reader is multiplied in a multisensory experience that unites the vision, hearing, and the unprecedented tactile experience of handling information on touch screens of mobile devices. On this approach, the digital magazine reaches diverse audiences that can be separated by different editorial proposals, defining the magazine profile. The graphical design elements are important to shape the editorial identity. In this alignment, the study attempts to identify the relational pattern of the design elements and how they contribute to the construction of the visual identity in digital magazines. The operationalization of the specific objectives adopted was the methodological approach of qualitative research, with exploratory and descriptive-analytical character and theoretical and practical basis. For the record: 1) conceptual dialogue between Design and the Jungian Symbolic Pedagogy, featuring the interdisciplinary proposal; 2) selection of the digital magazines; 3) case study based on the description of design elements in digital consumer magazines, study scope; 4) archetypal analysis to identify the relational pattern of the graphic elements in the design composition of digital consumer magazines; and, 5) considerations of the analysis about the objects of the searched unit. As a conclusion of this thesis, it is deduced that the relational pattern of the design elements in digital consumer magazines, limited to this research, presents an editorial profile that adheres to the characteristics of matriarchal, patriarchal and otherness archetypal patterns. As a contribution, the interdisciplinarity undertaken allows to unveil the windows of possibilities for future researches, incorporating new concepts and new relationships between graphical elements and archetypal patterns, enabling the expansion of the theoretical and practical basis in the Design area.<br>O advento da plataforma digital fez surgir uma nova forma de narrativa no campo da comunicação. Por conseguinte, emerge uma relação de leitura, antes baseada no conteúdo visual e textual estático, para formas inovadoras do universo de revistas digitais, caracterizado pela incorporação de elementos dinâmicos como áudios, vídeos e infográficos interativos. As relações com o leitor se multiplicam em uma experiência multissensorial, que une a visão, a audição, mais a inédita experiência tátil de manusear informações nas telas de dispositivos móveis sensíveis ao toque. Nesse enfoque, a revista digital atinge públicos variados, que podem ser separados por diferentes propostas editoriais, definindo o perfil da revista. Assume importância os elementos gráficos do design na formação da identidade editorial. Nesse alinhamento, a pesquisa objetiva identificar o padrão relacional dos elementos do design e como os mesmos contribuem para a construção da identidade visual em revistas digitais. Na operacionalização dos objetivos específicos, adota-se como procedimento metodológico a investigação qualitativa, de caráter exploratório e descritivo-analítico, de base referencial teórico-prática a saber: diálogo conceitual entre o Design e a Pedagogia Simbólica Junguiana, caracterizando a proposta interdisciplinar; seleção das revistas digitais; estudo de caso pautado na descrição dos elementos do design de revistas digitais de consumo, escopo de estudo; análise arquetípica visando identificar o padrão relacional dos elementos gráficos na composição do design em revistas digitais de consumo; e, considerações da análise dos objetos da unidade pesquisada. Como conclusão desta dissertação, infere-se que o padrão relacional dos elementos do design em revistas digitais de consumo, circunscritas a esta pesquisa, apresentam um perfil editorial que adere às características dos padrões arquetípicos matriarcais, patriarcais e de alteridade. Como contributo, a interdisciplinaridade empreendida, permite descortinar janelas de possibilidades para pesquisas futuras, incorporando novos conceitos e novas relações entre os elementos gráficos e os padrões arquétipos, possibilitando a ampliação da base teórica e prática na grande área do Design.
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Bayar, Aylin, and Tilde Bergman. "Att förändra utan att förstöra : En intervjuundersökning om hur externa byråer arbetar med rebranding." Thesis, Högskolan Väst, Avd för medier och design, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-14329.
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Companies are required to have the ability to be attractive because of today's intense market. They have to constantly make sure that their visual elements and graphic profile are related to the current market conditions. Furthermore the market are placing higher demands on how companies expose their brands and quite often the companies have to do a rebrand to keep their brand relevant. To do this, companies often have to hire an external party, such as an external advertising- or media agency. The purpose of this study is to investigate what causes a rebranding and how the external agencys are working with the process. The study also examines which factors the agencies take into account when designing a new visual identity and whether it's important to preserve certain core elements from the previous visual identity. This is investigated based on following questions: "What are the reasons to why a company chooses to do a rebrand?", "What do external agencies take into account when designing a new visual identity?" and "Is it important to maintain graphic elements from the previous visual identity?". To answer the questions, the researchers have applied a qualitative study where semi-structured interviews have been implemented. Theory is based on secondary sources and previous research that deals with the area of rebranding, visual identity and the different elements of identity. The reasons to rebranding can be different. The study also shows that some companies have a visual identity that does not interact with their products or services, which is the reason to rebranding. In summary, the external agencies take into account many of the aspects surrounding the design that are brought up by previous research, but the study also adds new perspectives.<br>Dagens marknad kräver att företagen behöver ha förmågan att vara attraktiva. Företagen behöver ständigt se till att deras visuella element och grafiska profil förhåller sig till de nuvarande marknadsförutsättningarna. Marknaden ställer högre krav på hur företag exponerar sina varumärken och många gånger behöver företagen genomgå en rebranding för att hålla sitt varumärke relevant. Ofta behöver företag anlita en extern part för att genomföra rebranding, denna hjälp kan i dessa fall komma från en extern reklam- eller mediabyrå. Syftet med studien är att undersöka vad som är orsaken till rebranding och hur externa byråer arbetar med processen. Studien undersöker även vilka faktorer byråerna tar hänsyn till i utformande i utformandet av en ny visuell identitet samt om det är viktigt att bevara kärnelement från den tidigare visuella identiteten. Detta genom att utgå från frågeställningarna "Vilka är orsakerna till att ett företag väljer att göra en rebranding av sitt varumärke?", "Vad tar externa byråer hänsyn till vid utformandet av en ny visuell identitet?" samt "Är det viktigt att bevara grafiska element från den tidigare visuella identiteten?". För att besvara frågeställningarna har forskarna tillämpat en kvalitativ studie där intervjuer med utvalda respondenter från tre externa byråer har genomförts. Intervjuerna var semistrukturerade och byggde på öppna frågor som möjliggjorde för väl utvecklade svar. Teori grundas på sekundärkällor och tidigare forskning som handlar om området rebranding, visuell identitet och identitetens olika element. Studiens slutsats visar att de externa byråerna arbetar olika med rebranding. Vissa byråer väljer att ta stor hänsyn till det tidigare existerande varumärket medan andra vågar vara helt nytänkande. Orsakerna till rebranding kan vara relativt skilda och studien indikerar på en ytterligare faktor som handlar om att vissa företag har en visuell identitet som inte samverkar med deras produkter eller tjänster. De externa byråerna tar hänsyn till många av de aspekter kring utformandet som tidigare forskning behandlar. Det framkommer även att företagets logotyp ska laddas med värde och behov. Byråerna tillför också idén om att skapa mönster, piktogram och illustrationer, målet med dessa grafiska element är att de ska kunna associeras lika starkt till varumärket som företagets logotyp gör.
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Ericson, Jessica, and Aurora Hammam. "Har den digitala pizzamenyn en genomtänkt stil? : En analys av lågprispizzeriors design av menyer." Thesis, Högskolan Dalarna, Informatik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-34252.
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Det finns studier som anger rekommendationer för att designa en väl utformad restaurangmeny. Syftet med rapporten är att undersöka om pizzeriapersonal och formgivare designar digitala pizzamenyer genom medvetna val utifrån de designprinciper och designrekommendationer som finns. Undersökningen är ett kvalitativt forskningsarbete där kartläggning har använts som strategi. Datainsamlingsmetoderna som har använts är litteratursökning, visuell innehållsanalys, gruppintervjuer och semistrukturerade intervjuer för att kunna besvara frågeställningarna. Resultaten från undersökningen påvisar bland annat att pizzeriapersonalen anser att deras menydesign inte överensstämmer med varumärket. Personalen och kunderna har även olika uppfattningar om vad varumärkena står för. Trots att pizzeriornas varumärke inte stämmer överens med designen uppfyller menyerna kundernas förväntan. Slutsatserna visar bland annat att det finns gemensamma och särskiljande grafiska element. De flesta lågprispizzerior har inte ett genomtänkt varumärke samt att det inte finns en medvetenhet angående de designprinciper och designrekommendationerna hos pizzeriapersonal eller formgivare.<br>For the creation of restaurant menus there are studies that show which recommendations you should use to achieve a well-designed menu. The purpose of the study is to investigate whether pizzeria personnel and designers create digital pizza menus consciously from the design recommendations that exists. This study is a qualitative research work and we have used a survey as strategy. Data collection methods that have been used to answer the study questions are literature search, a visual content analysis, group interviews and semi-structured interviews. One result from the interviews showed that the pizzeria personnel thinks that their menu design does not match their brand. The pizzeria personnel and customers have different perceptions about what the brand stands for. The group interviews show that the digital menus live up to customers expectation and their experience of the low-price pizza. The conclusions show that there are common and distinctive graphical elements. Most low-price pizzerias do not have a well thought out branding, although the pizzeria personnel and designers do not have consciousness regarding the design principles and recommendations.
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Prado, Cabrera Milagros Almendra. "Análisis de los elementos gráficos del diseño ambiental que intervienen en la productividad aplicada al trabajo remoto." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653066.
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La investigación enfoca su objetivo principal en identificar los elementos gráficos del diseño ambiental que intervienen en la productividad aplicada al trabajo remoto. Por lo tanto, se propuso la hipótesis de que los elementos gráficos del diseño ambiental que intervienen en la productividad aplicada al trabajo remoto son el color, la iluminación y los materiales y herramientas visuales.
Se llevó a cabo un estudio de tipo transversal descriptivo en el que se analizaron espacios laborales en el hogar impuestos por el contexto de la pandemia. Entre los principales hallazgos se identificó que la mayoría de los espacios examinados son áreas compartidas del hogar. Por lo tanto, existe cierta limitación en la optimización de la aplicación de los elementos gráficos que conforman el diseño ambiental. Sin embargo, aquellos espacios que están determinados para esta actividad tienen mayor flexibilidad para personalizar su espacio, agregar herramientas visuales y la oportunidad de integrar elementos del diseño ambiental.
Así, se concluyó que en el marco de la emergencia sanitaria existe dificultad para proyectar un espacio de trabajo en el hogar. Sin embargo, se confirma que los elementos gráficos del diseño ambiental que intervienen en la productividad aplicada al trabajo remoto son el color, la iluminación y los materiales y herramientas visuales, ya que estos deben estar consignados en favor de la optimización de la experiencia de trabajo.<br>The research focuses its main objective on identifying the graphic elements of environmental design that intervene in productivity applied to remote work. Therefore, it was hypothesized that the graphic elements of environmental design that intervene in productivity applied to remote work are color, lighting, and visual materials and tools.
A descriptive cross-sectional study was carried out in which work spaces in the home imposed by the context of the pandemic were analyzed. Among the main findings, it was identified that the majority of the examined spaces are shared areas of the home. Therefore, there is a certain limitation in optimizing the application of the graphic elements that make up the environmental design. However, those spaces that are determined for this activity have greater flexibility to personalize their space, add visual tools and the opportunity to integrate elements of environmental design.
Therefore, it was concluded that in the framework of the health emergency there is difficulty in projecting a workspace at home. However, it is confirmed that the graphic elements of the environmental design that intervene in productivity applied to remote work are color, lighting, and visual materials and tools, since these must be consigned in favor of optimizing the work experience.<br>Trabajo de investigación
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Barros, Davidson Lima. "Criação de e-book como ferramenta de apoio à aprendizagem no ensino superior: uma análise dos elementos gráficos do design." Universidade Federal do Maranhão, 2016. http://tedebc.ufma.br:8080/jspui/handle/tede/646.
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Previous issue date: 2016-06-03<br>In recent decades Distance Education (DE) has proven an important tool to meet the needs of the information society and knowledge. For this, it has made constant use of online education to achieve more effectively a larger number of people. In this context, the aim of this study is to analyze how the graphic elements of design are being structured in the creation of E-books in Virtual Learning Environments in education distance mode in Maranhão. Therefore, it is important to recognize these elements and how they are applied, and to investigate the role of the graphic designer in interdisciplinary teams responsible for teaching materials for distance learning. To achieve this goal is adopted as a methodological procedure exploratory qualitative research, which uses the systematic literature review. From this research, it will be identified which are the professionals involved and how they are being planned and developed the graphic elements of e-books in distance education projects from the design perspective.<br>Nas últimas décadas a Educação a Distância (EaD) tem se mostrado uma ferramenta importante para atender as necessidades da sociedade da informação e do conhecimento. Para isso, ela tem feito uso constante da educação on-line para atingir de modo mais eficiente um número maior de pessoas. Nesse contexto, o objetivo deste trabalho é analisar como os elementos gráficos do design estão sendo estruturados na criação de E-books em Ambientes Virtuais de Aprendizagem na modalidade de ensino a distância no Maranhão. Para tanto, é importante reconhecer esses elementos e de que forma são aplicados, além de investigar a participação do designer gráfico em equipes interdisciplinares responsáveis pelos materiais didáticos para EAD. Para atingir esse objetivo adota-se como procedimento metodológico a investigação qualitativa, de caráter exploratório que se utiliza da revisão sistemática da literatura. A partir dessa pesquisa, será identificado quais são os profissionais envolvidos e como estão sendo planejados e desenvolvidos os elementos gráficos dos E-books em projetos de Educação a Distância sob a perspectiva do design.
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Helgersson, Lisa. "Att kommunicera rummets varierande funktion genom 3D-visualiseringar." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-35959.
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Att kommunicera rummets varierande funktion genom 3D-visualiseringar är ett examensarbete i informationsdesign med inriktning rumslig gestaltning. Uppdraget kommer från Husmuttern AB som arbetar med huskoncept som sedan ska leda till produktion av modulhus. Syftet med arbetet har varit att studera hur en 3D-modell bör utformas för att kommunicera ett rums varierande funktion. Detta för att veta hur jag ska visualisera en undervisningssal i ett modulhus. För att arbeta fram en 3D-modell som uppfyller dessa krav krävs det att studera kommunikation mellan parter, bildens egenskaper, rummets form och färg, detta med stöd i litteratur, forskning och användartester. Därefter kunde en modell arbetas fram som kunde kommunicera en undervisningssal i ett modulhus. Genom användartesterna visade det sig att det är bra med en modell som fokuserar på modulhusets grund men också att ha med inredning för att visa funktionen. Det resulterade i en modell som innehöll husgrunden på en halva och realistisk inredning på den andra halvan men i samma modell. Genom litteratur och tidigare forskning blev resultatet för visualiseringar att det är ofta som 3D-modeller används. I utformningen bör detaljer uteslutas och verklighetstrogna vyer undvikas. Fokus bör ligga på det väsentliga då det annars blir för mycket att ta in för betraktaren och budskapet går förlorat, samt att verklighetstrogna skisser upplevs som färdigutvecklade. Det resulterade i en skissartad modell med avskalad inredning för att visa rummets funktion.<br>Att kommunicera rummets varierande funktion genom 3D-visualiseringar is a thesis in information design with orientation in spatial design. The assignment comes from the company Husmuttern AB who work with house concept that will lead to production of module housing. The purpose has been to study how a 3D- visualisation should be formed to communicate rooms varying functions. All this so that I will know how to visualize a classroom in a module housing. To be able to come up with a 3D-model that have this quality it was requires to study communication between two parties, properties of the image, shape and color of the room, with the help of literature, previous research and user tests. Then it was possible to come up with a model that could communicate a classroom constructed in module. Through the user tests it was shown to be preferable with a model that focuses on the basic units of the module housing but that also has some realistic decor to show some function. All this resulted in a model which includes the basic units of the module on one half and realistic décor on the other half in the same model. Thanks to literature and previous research the result for visualization was that it is common to use 3D-modells. In the modeling details and realistic views should be avoid. The focus should be on the essential or it will be too much for the viewer to take in and the message gets lost, but also that to realistic models were considered to be fully complete. All this resulted in a sketchy model with a small amount of décor to show the rooms function
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Löfqvist, Thobias, and Oskar Edengréen. "Förpackning av kommunikation." Thesis, Mittuniversitetet, Institutionen för informationsteknologi och medier, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-15240.
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Ämne/Kurs: Kandidatuppsats, Medie- och Kommunikationsvetenskap, 15 hp Syfte: Syftet är att undersöka en specifik förpackning, i det här fallet produkten “Jabu’she”, om den förpackningen uppfyller vad som krävs för att kommuni cera sitt varumärke genom marknadskommunikativa uppgifter. Detta för att se om varumärket är den viktigaste grafiska nyckelkomponenten på den förpackningen. Metod: Detta är en kvantitativ undersökning, utförd med en datorstödd enkät. Studien har arbetat med en metod framtagen av DeukSoo Kim. Teoretiska perspektiv: I teorikapitlet behandlas de teoretiska utgångspunkter som ligger till grund för det valda problemområdet; Marknadskommunikation med vikt på Point of Purchase och Visuell kommunikation med vikt på Visuell Hierarki Slutsats: Studien visar hur Jabushés förpackning uppfyller de visuellt hierarkiska och marknadskommunikativa uppgifter som ställs på en förpackning vid Point of Purchase.<br>Course: Bachelor thesis in Media and Communication Science Purpose: The purpose with this bachelor essay is to examine a specific package, in this case the product Jabu’she, if the package fulfil what is needed to communi cate its brand thrue marketing communication. This, to see if the brand is the most important graphic cue element on the package. Methodology: This is a quantitative survey, executade with an computerbased questionaire. The study used a method developed by DeukSoo Kim. Theoretic framework: This study use theories from Marketing Communication with emphasis on Point od Purchase and Visual Communication with the emphasis on hierarchy. Conclusion: The Study shows how Jabushés package answer to the visual and marketing communication requirements that is set upon a package at Point of Purchase.
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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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Юрченко, Д. В. "Color in graphic design." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10806.
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Yurchenko, Daryna. "Contrast in graphic design." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13186.
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Пугачова, Анна Олегівна. "Rules for graphic design." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15355.
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Hunter, Darrin S. "Regionalism in Graphic Design." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367928330.
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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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Plouffe, Danielle Grace. "Graphic design career information /." Online version of thesis, 1993. http://hdl.handle.net/1850/11960.
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Tedeschi, Carla. "Design theory and methodology /." Online version of thesis, 1992. http://hdl.handle.net/1850/11771.
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Barbieri, Chiara. "Graphic design and graphic designers in Milan, 1930s to 1960s." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2816/.
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Graphic design holds a marginal position in the Italian design historiography in relation to industrial design. Often written by and for graphic designers, histories have tended to concentrate on changes in graphic styles as exemplified in works by prominent designers or the visual communication strategies of major companies. By contrast, this thesis addresses the organisation of the graphic design profession in Milan, from the interwar period to the mid-1960s. Key aspects explored include: graphic design’s mutable meanings and practices; formal and informal educational practices; graphic designers’self-identification with a new profession; and the structures they created to organise and make their practice visible. A focus on dialogue and negotiation between different interest groups stresses the relational and contingent nature of design professions. The thesis asks whether Milan’s graphic practitioners capitalised on modernist ideas such as standardisation, universalism, objectivity and functionalism to distance themselves from graphic arts and advertising, and enable re-categorisation within design. Thus, it problematises the relationship between professionalisation and international modernism, within the specific context of industrial structures in Milan and the hierarchy of design practice in twentieth-century Italy more broadly. The thesis provides an original retelling of stories often taken for granted, and looks behind individual designers and big companies to uncover overlooked narratives. Five chapters addressing the Scuola del Libro and the Cooperativa Rinascita in Milan, the ISIA in Monza, the Milan Triennale, the Studio Boggeri and the associations AIAP and ADI draw attention to educational issues, design practice, professional organisations, networks and mediating channels that have defined, legitimised, represented, advanced, contrasted, and articulated the graphic design profession in Milan. The argument is built on close scrutiny of archival material and other primary sources, including extensive visual material and oral interviews. Methodologies derive principally from history of design and visual culture, and place great emphasis on visual analysis. Visual artefacts are approached both as visual expressions of design methodologies and aesthetic principles and, drawing on actor-network-theory, as three-dimensional actors that interact with people and other artefacts. Despite focusing on the local, the thesis draws on global design history as a methodology by taking into account the dynamic and multi-directional movement of people, ideas, and artefacts within transnational circuits. Building on sociological stances, it approaches professions as socially constructed concepts and argues that professional identities are constantly in formation and require continual adaptation to shifting environments, agendas and design discourses. The thesis aims to offer neither a comprehensive history of Italian graphic design nor a final assessment of its professionalisation. Rather, it prioritises the process of professionalisation, by stressing tensions and contradictions, and by following practitioners’ struggle to articulate what graphic design is. The originality and potential impact of the thesis lie in its endeavour to present a closely-articulated history of the graphic design profession in Milan that draws attention to economic, industrial, political, social and technological contexts, and to propose this as a template for the writing of graphic design history. Furthermore, it provides a historically-integrated, archive-based, outward-looking model for graphic design history as an integral part of the history of design.
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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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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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Valtersson, Sofia, and Anna Matsson. "Corporate identity through graphic design." Thesis, Högskolan Dalarna, Grafisk teknik, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3561.
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The degree project has been implemented abroad in Brisbane, Australia. A literature study has beenperformed parallel to the practical work within the subject »Corporate identity through graphicaldesign«. In this study deeper research has been made concerning the establishment and manifestationof a corporate identity and its program. The knowledge given from this study has been put into practicethrough two larger projects.The first project was carried out at De Pasquale, advertising agency in Brisbane, where a corporateidentity program was designed for a new company. The company is a fitness centre, called KnockoutFitness, which specializes in different types of boxing training sessions such as Boxing, Thai Bow andBoxercise but also Aqua aerobics. They needed a full corporate identity program including a logotype,business card, letter paper-paper and address labels.The second project was carried out at Queensland University of Technology in Brisbane. A promotioncampaign was designed for the Department of Visual Arts, which included two information folders andone advertisement. The purpose of the campaign was to promote both the undergraduate and postgraduatecourses offered within the department.
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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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Olatidoye, Olugbemiga A. "Design-oriented graphic-user-interface." Diss., Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23110.
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JUNIOR, LICINIO NASCIMENTO DE ALMEIDA. "CONJECTURES FOR RHETORIC [GRAPHIC] DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13975@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>O Design evidencia-se como uma atividade projetual de elementos voltados
à reprodução. As modalidades produtivas dessa atividade são consolidadas,
sobretudo, pela manipulação de imagens. A concretização perceptível e decifrável
dessas imagens pressupõe a efetivação de uma semiose que, ao possibilitar
significações, cria enunciações. Ao visar a adesão de um público/auditório, essas
enunciações entrelaçam-se em um sistema retórico que, fundamentado nos
cânones da Retórica Aristotélica, centra-se num etos, num patos e num logos,
como formas de argumentações persuasivas. Revela-se, então, uma intrigante,
ou pelo menos sedutora, relação entre a Retórica e a Imagem. Ao confrontar a
ideia dessa relação com os atributos engendrados pelos produtos do Design,
vislumbra-se a manifestação de uma Retórica do Design. Baseando-se no Tratado
da argumentação, de Chaïm Perelman, em que à Retórica é credenciada sua
renovação, esta Tese faz uma abordagem reflexiva sobre a contribuição da
Retórica para uma Teoria do Design. Como a atuação do Design abarca um vasto
campo exploratório, selecionou-se uma modalidade específica para o estudo, o
Design Gráfico. Pressupôs-se a existência de uma Retórica inerente à natureza do
Design Gráfico. Foram tomados, como caso exemplar, projetos gráficos de capas
das principais revistas noticiosas brasileiras. Como resultado, chegou-se a um
conjunto de pressupostos teóricos balizadores para uma Retórica do Design
Gráfico e ao reconhecimento da pertinência da imbricação entre Design Gráfico e
Retórica na construção e delineamento de uma Teoria do Design. Por fim, foi
cogitada a possibilidade de evidenciar propósitos ideológicos em projetos
gráficos, por meio de análise retórica.<br>Design is expressed as an activity involving the projection of elements
related to reproduction. Productive types of this activity are consolidated,
especially, by the manipulation of images. The concrete and decipherable
perception of these images presupposes the use of semiotics to enable meaning
and create pronouncements. To hold a public or an audience, these
pronouncements are interwoven within a system of rhetoric based on the inclusion
of Aristotelian Rhetoric and based on an ethos, a pathos and a logos, as forms of
persuasive arguments. It is then manifested as a stimulating or at least seductive
relationship between Rhetoric and Image. When comparing the idea of this
relationship with the attributes engendered by the products of Design, an
expression of a Design Rhetoric can be seen. Based on Chaïm Perelman’s
Treatise on argumentation in which Rhetoric is the foundation of its renovation,
this Theory creates a reflective approach regarding the contribution of Rhetoric
toward a Theory of Design. Since the purpose of Design encompasses a vast
exploratory field, a specific type has been selected for the study - Graphic Design.
It presupposes the existence of Rhetoric inherent to the nature of Graphic Design.
As a sample case, covers of the Brazilian leading news magazines have been
taken. As a result, a set of delimiting theoretical presuppositions were arrived at
for a Graphic Design Rhetoric and for the recognition of the relevance of the
imbrications of Graphic Design and Rhetoric in the construction and delineation
of a Design Theory. Finally, the possibility of providing evidence of ideological
proposals in graphic projects based on rhetorical analysis was also included.<br>El Diseño se evidencia como una actividad que proyecta elementos
orientados a la reproducción. Las modalidades productivas de esa actividad se
consolidan, sobre todo, por la manipulación de imágenes. La concreción
perceptible y descifrable de esas imágenes presupone la realización de una
semiosis que, al posibilitar significaciones, crea enunciaciones. Al buscar la
adhesión de un público/auditorio, esas enunciaciones se entrelazan en un sistema
retórico que, basado incluso en los cánones de la Retórica Aristotélica, se centra
en un etos, en un patos y en un logos, como formas de argumentación persuasiva.
Se revela, entonces, una intrigante, o al menos seductora, relación entre la
Retórica y la Imagen. Al confrontar la idea de esa relación con los atributos
engendrados por los productos del Diseño, se vislumbra la manifestación de una
Retórica del Diseño. Basándose en el Tratado de la argumentación de Chaïm
Perelman, en el que a la Retórica se le acredita su renovación, esta Tesis realiza un
abordaje reflexivo sobre la contribución de la Retórica a una Teoría del Diseño.
Como la actuación del Diseño abarca un vasto campo exploratorio, se seleccionó
una modalidad específica para el estudio, el Diseño Gráfico. Se presupuso la
existencia de una Retórica inherente a la naturaleza del Diseño Gráfico. Se
tomaron, como caso ejemplar, proyectos gráficos de portadas de las principales
revistas de noticias brasileñas. Como resultado, se llegó a un conjunto de
presupuestos teóricos demarcadores de una Retórica del Diseño Gráfico, y al
reconocimiento de la pertinencia de la imbricación entre Diseño Gráfico y
Retórica en la construcción y delineación de una Teoría del Diseño. Por último, se
trató la posibilidad de evidenciar propósitos ideológicos en proyectos gráficos, por
medio del análisis retórico.<br>Le Design est connu en tant qu`activité projectuelle d`éléments consacrés à la
reproduction. Les modalités productives de cette activité sont consolidées,
notamment par la manipulation d`images. La concrétisation perceptible et
déchiffrable de ces images présuppose la mise en place d une sémiose qui, du fait
de privilégier des significations, crée des énonciations. Lorsqu`elles envisagent
l`adhésion d`un public/assistance, ces énonciations s entrecroisent dans un système
rhétorique qui, basé y compris dans les canons de la Rhétorique Aristotélique, est
centré sur un ethos, un pathos et un logos, en tant que formes d`argumentations
persuasives. Il en ressort alors, une intrigante, ou tout au moins séductrice relation
entre la Rhétorique et l`Image. Une fois confrontée l`idée de cette relation avec les
attributs engendrés par les produits du Design, on envisage la manifestation d une
Rhétorique du Design. Tout en tenant comme base le Traité de l`argumentation de
Chaïm Perelman, selon lequel à la Rhétorique est autorisé son renouvellement,
cette Thèse présente une approche réflexive sur la contribution de la Rhétorique
pour une Théorie du Design. Du fait que l`étendue du Design comprend un vaste
champ exploratoire, une modalité spécifique a été sélectionnée pour l`étude: le
Design Graphique. On a présupposé l existence d une Rhétorique inhérente à la
nature du Design Graphique. En tant que cas exemplaire, des projets graphiques
de couvertures des principaux magazines de nouvelles brésiliennes ont été
considérés. À guise de résultat, nous sommes arrivés à un ensemble de
présupposés théoriques conduisant à une Rhétorique du Design Graphique et à la
reconnaissance de la pertinence de l imbrication entre Design Graphique et
Rhétorique dans la construction et le délinéament d une Théorie du Design.
Finalement, la possibilité de mettre en évidence des propos idéologiques dans des
projets graphiques a été cogitée, au moyen d`analyse rhétorique.
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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.<br>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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Crosby, Marianne. "Color psychology and graphic design /." Lynchburg, VA : Liberty University, 2007. http://digitalcommons.liberty.edu.
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Harland, Robert George. "Graphic design as urban design : towards a theory for analysing graphic objects in urban environments." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/12350/.
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This thesis presents a model for analysing the graphic object as urban object, by considering atypical fields of discourse that contribute to the formation of the object domain. The question: what is graphic design as urban design? directs the research through an epistemological design study comprising: an interrogation of graphic design studio practice and the articulation of graphic design research questions; a review and subsequent development of research strategy, design and method towards the articulation of methodology that reflects the nature of the inquiry; a detailed analysis of five different ways to study and research graphic design as urban design, in geography, language, visual communication, art and design, and urban design. The outcome of the investigation is a model that enables future research in the urban environment to benefit from micro-meso-macrographic analysis. The model endeavours to provide a way to evaluate, design and enhance ‘public places and urban spaces’ by considering different scales of symbolic thought and deed. This has been achieved by acknowledging the relationship between the relatively miniscule detail of graphic symbolism, the point at which this becomes visible through increased scale, and the instances when it dominates the urban realm. Examples are considered that show differences between, for example, the size and spacing of letter shapes on a pedestrian sign, compared to the ‘visual’ impact of an iconic building in the cityscape. In between is a myriad of graphic elements that are experienced and designed by many different professional disciplines and occupations. These are evidenced and explained. Throughout the study an indiscriminating literature review is interwoven with the text, accompanied by tabular information, and visual data in the form of photographs and diagrams. This is mainly research-driven data utilising photographs from fieldwork in Brazil, Canada, Hong Kong, Italy, Portugal, South Korea, United Kingdom, and United States of America. The methodology integrates a transdisciplinary adaptive theory approach derived from sociological research, with graphic method (utilising a wider scope of visual data usually associated with graph theory). The following images provide sixteen examples of artefacts representing the graphic object as urban object phenomenon.
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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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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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Golomutko, Mykyta. "Elements of design." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13051.
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Mason, Erica. "Unveiling graphic design significance with holistic, human-centred design: Diversifying the role for graphic design among local industry projects." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2025. https://ro.ecu.edu.au/theses/2897.
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The field of graphic design has continually evolved to encompass a wide scope of practices that can be incorporated into all stages of industry projects. Globally, these unique design practices have been recognised for their significance. Their applications to a broad spectrum of large-scale business and community sector initiatives has been widely documented. Research as to how such practices and skills apply in smaller project spaces, however, appears to be missing. Perth, Western Australia, is an isolated city which often does not attract large-scale business projects beyond the mining sector. As a result, graphic design projects based in Perth tend to be smaller in scale and diverse in application. These projects are often driven by specific outcomes, and graphic designers are typically hired by clients at the end stage of business projects to make artefacts, such as websites, business cards or brochures.
IDEO, a design firm at the forefront of design thinking practices internationally, contends that businesses will benefit greatly from integrating design’s core techniques and principles into all aspects of product and service development, as opposed to merely engaging “designers to make an already developed idea more attractive” (Brown & Katz, 2011, p. 381). Service design methods, commonly applied through a holistic interdisciplinary approach, are one way to diversify graphic design skills beyond the production of ephemeral objects. This research looks to explore how these holistic, human-centred service design methods might expand the roles and mindsets of graphic designers and their significance within the context of smaller, localised industry settings common to Perth.
To accomplish this, this thesis employed a range of qualitative methods, including ethnography, autoethnography and practice-led research approaches. The focus of the study was directed upon two graphic design studios in Perth and one service design studio in Melbourne, to establish an overview of the prevailing graphic design methodologies being used in local industry projects and determine whether creative practices undergo significant transformations after the integration of holistic, human-centred design processes - as are common in design thinking and service design methodologies.The study found that local graphic designers desire and need to change their practices to embrace a more holistic view of design. This view looks to place graphic designers among decision making from the beginning of any design project. It requires that design processes are put before designing artefacts, design methodologies before design methods, and investment in design instead of project-based contracts. It is within this proposed way of working that local graphic designers can gain greater significance for their discipline while engaging in project work that is more satisfying for themselves and more impactful for their clients, design users and society itself.
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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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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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<p> 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.</p>
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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<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>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.<br>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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Puhachova, Anna, and L. V. Roienko. "Is graphic design art or science?" Thesis, Наукова платформа Open Science Laboratory, 2020. https://er.knutd.edu.ua/handle/123456789/16302.
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У статті розглядаються основні аспекти та сфери застосування графічного дизайну.<br>Graphic design is described as the process of visual communication and problem-solving through the use of typography, photography, iconography and illustration.
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LaMarca, David J. "Graphic Design Archive : Lester Beall collection /." Online version of thesis, 1990. http://hdl.handle.net/1850/11299.
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Neff, Mary Kay. "Educational/informational posters on graphic design /." Online version of thesis, 1987. http://hdl.handle.net/1850/10325.
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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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Viseshsin, Jongruja Mai. "The multiple dimensions of graphic design /." Online version of thesis, 1992. http://hdl.handle.net/1850/11629.
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