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Dissertations / Theses on the topic 'Graphic design history'
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Timney, Todd F. "Design History Matters: Visualizing Graphic Design History Through New Media." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/38.
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New media's emerging influence on society and the design profession is profound. Currently unrealized, the intersection of graphic design history and digital media is an area worthy of further examination. For graphic designers trained in the design of fixed content for traditional media, new media's challengeto develop open-ended systems that adapt to dynamic content, customization, and multiple authorshipcan be unsettling. But the potential benefits of this exploration are many. The ability to synthesize video, sound, static imagery, and textual information to present interactive content that adapts to the contemporary history of graphic design student's multi-modal and mobile lifestyle will provide a significant advantage.
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Cunningham, Tierney. "An abridged visual history of graphic design /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/29.
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Thesis (B.F.A.)--California Polytechnic State University, 2009.<br>Project advisor: Kathryn McCormick. Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.
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Rajanna, Kanchen. "Promotional program for the Center for Graphic Design History /." Online version of thesis, 1991. http://hdl.handle.net/1850/11286.
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Lust, Caitlyn. "Women’s Work: Re-evaluating the Canon of Graphic Design History." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556273078639679.
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Blackwell, Garreth C. "Good As We Know It: Goodness in Design Discourse Since 1870." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4746.
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This dissertation examines the ways in which design and design practitioners have defined value in the design discourse through the vocabulary and concept of goodness since 1870. These definitions of value have been central to design discourse both past and present and deal with the impact and purpose of design work as well as its role in the creation of the approaching future. Since before the coalescence of graphic design as a separate field of design, these questions have been tied to the form, function or social impact of the objects created by designers. Despite the prevalence of this line of inquiry in the discourse, current usage tends toward uncritical and uninformed usage because of a separation of the terminology from the historical context in which this conversation developed. The purpose of this investigation, then, is not to segment terms into “right” or “proper” definitions, but to apply a critical historical lens to the vocabulary of goodness as it has been used in the larger design discourse since 1870 in order to better understand the state of current discussions of value and to inform paths of future inquiry.
In order to do so, this investigation developed a framework by which to understand the ways in which goodness has been contextualized over the last 150 years. This historical context does not limit us to a historicist approach to design, and it not presented as an essentialist or teleological marker of things to come. Instead, knowledge of the historical context and various uses of a term makes us better educated practitioners of design who are more capable of combating the individualistic fallacy of the enlightened genius. Through a fuller knowledge of the critical historical context in which our field’s vocabulary developed, we can better understand notions of creativity that position designers as expert guides through networks of information and meaning.
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Mraovic, Dejan. "Graphic Ambassadors of a Country (Redesign of Serbian Banknotes and Coins)." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1338857909.
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Hutton, Ailsa Kate. "Re-viewing history : antiquaries, the graphic arts and Scotland's lost geographies, c.1660-1820." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7361/.
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This thesis examines topographical art depicting Scotland’s natural scenery and built environments, architecture, antiquities and signs of modern improvement, made during the period 1660 to 1820. It sets out to demonstrate that topography and topographical art was not exclusively antiquarian in nature, but ranged across various fields of learning and practice. It included the work of artists, geographers, cartographers, travel writers, poets, landscape gardeners, military surveyors, naturalists and historians who were concerned with representing the country’s varied, and often contentious, histories within an increasingly modernising present. The visual images that are considered here were forms of knowledge that found expression in drawings, paintings and engravings, elevations, views and plans. They were made on military surveys and picturesque tours, and were often intended to be included alongside written texts, both published and unpublished, frequently connecting with travels, tours, memoirs, essays and correspondence. It will also be argued that topography was a social practice, involving networks of artists, collectors, publishers and writers, who exchanged information in drawings and letters in a nationwide, and often increasingly commercial enterprise. This thesis will explore some of the strands of such a vast network of picture-making that existed in Scotland, and Britain, between 1660 and 1820, as visual images were circulated, copied, recycled and adapted, and topographical and antiquarian visual culture emerges as a complex, synoptic form of inquiry.
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KAISER, ANDREW. "CONSTRUCTING MODERNITY: JAPANESE GRAPHIC DESIGN FROM 1900 TO 1930." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147717044.
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Raposo, Ana Bastos. "30 years of agitprop : the representation of 'extreme' politics in punk and post-punk music graphics in the United Kingdom from 1978 to 2008." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6064/.
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This research analyses the dissemination of political and ideological content through the music graphics of selected bands associated with punk and post-punk. It concentrates on the anarcho-punk movement and the neo-fascist scene in the United Kingdom between 1978 and 2008. The aim is to show how music graphics were integral to the philosophy of politically engaged bands, and acted as systems of propaganda. The research further deconstructs these systems and reveals underlying narratives, intentions, tropes and visual codes. The research presents three main novel contributions to scholarship and knowledge. The first is the creation and cataloguing of the most extensive archive to date of the material under analysis providing an instrumental resource for further research on the subject. The second is the development of a methodology for analysing the dissemination of ideological and political content through graphic design objects in a subcultural context. This methodology allows for an exploration of the heretofore neglected area of the inter-relationship between dissemination of the message and specific graphic systems. The analysis is conducted through the use of multiple research methods, drawing upon qualitative research methodologies and the development of complementary methodologies devised for the field of graphic design. The focus is on the analysis of political camps and comparisons between them, noting points of commonality and divergence between dialogues of opposition within the common subcultural context. The third contribution is the identification, analysis and interpretation of ‘extreme’ political music graphics produced by artists from the United Kingdom from 1978 to 2008. Covering an under-researched field and time span of subcultural movements that were critical for the punk subculture and the corresponding political groups, the analysis of the music graphics presents an insight into their political theory and strategies. This comparative work involved methodologies drawn from cultural studies, subcultural studies and historical studies, and can therefore be seen as a contribution to these fields as well as to that of graphic design studies.
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Bastos, Helena Rugai. "O design de Fred Jordan." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-10072012-151542/.
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O desenvolvimento da obra do designer gráfico Fred Jordan e de sua experiência profissional é o objeto deste trabalho. Considerando que nas duas primeiras décadas de sua atividade não existe no Brasil um projeto acadêmico sistematizado e metodologia estabelecida para o conhecimento e para a prática na área do design gráfico, a análise aponta as diversas etapas de sua produção, que se estende de 1940 a 1990. Nesse processo, a pesquisa busca articular as diferentes fases dessa produção e os momentos históricos em que se realizam. Mostra a singularidade do trabalho de Jordan apontando a partir do uso da tecnologia, das técnicas, da temática, da adequação à evolução industrial e da diversificação do público consumidor - como seus projetos permitem perceber as transformações do campo de trabalho e do mercado. Dando ênfase ao cenário paulistano no qual atuou, ressalta-se seu papel no campo das artes gráficas, levando em conta o perfil dos grupos de profissionais de design no Brasil. Nesse quadro verificam-se elementos de sua formação, o círculo de amigos, o diálogo estabelecido com intelectuais, artistas e profissionais das artes visuais e do design,bem como suas áreas de interesse e de estudo. Para alcançar esse objetivo a pesquisa buscou reconstituir o itinerário do artista e de sua obra, por meio de ampla consulta bibliográfica e do levantamento e da organização do acervo da família. Parte desse material, constituído de textos que discutem seus trabalhos, permitiu apontar sua participação e influência no cenário cultural brasileiro e internacional. O estudo abriu espaço para a compreensão de vários aspectos da obra de Jordan: sua visão sobre o significado da arte e do artista; a articulação que estabeleceu entre o trabalho contemporâneo e a temática abordada por autores e artistas da primeira metade do século XIX na Alemanha;seus experimentos baseados, sobretudo na teoria das cores de Goethe e do pensamento naturalista do escritor alemão. Apresenta, ainda, um catálogo da obra de Fred Jordan e da documentação relacionada com sua produção<br>This thesis examines the development of graphic designer Fred Jordan\'s work and professional experience. No standard academic program or established approach for learning and practicing graphic design existed in Brazil during the first two decades of his career,and this analysis points out the distinct stages of Jordan\'s work between1940 and 1990. In the process, this research endeavors to describe the different phases of the designer\'s creative output against the historical background. lt demonstrates the significance of Jordan\'s work and how his projects allow us to understand the transformation of the graphic design discipline and industry, from his use of technology, techniques and themes, meeting the needs of the industrial revolution and the diversified consuming public. Focusing upon the Sao Paulo environment where he worked, the paper examines his influence on the field of visual arts,taking into account the profile of the professional design groups in Brazil at that time. Within this broader picture, it is possible to confirm the factors that influenced him, his circle of friends, his dialogue with intellectuals, artists and professionals in the visual arts and design community, as well as his areas of interest and study. To achieve this goal, the approach taken here was a recreation of the artist\'s life journey through extensive bibliographic research and a survey and organization of the Jordan family\'s collection of his work. Some of the sources, primarily the texts that discuss his work, bring to light Jordan\'s participation and influence on the Brazilian and international cultural scene. The study helps the reader understand several aspects of Jordan\'s work: his view of the meaning of art and the artist; the connection he made between contemporary design and themes employed by German authors and artists in the first half of the 19th Century;and his experiments based upon Goethe\'s Theory of Colours and the naturalistic thought of that German writer. Finally, it also presents a catalogue of Fred Jordan\'s designs and ofthe documentation related to his work.
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Henriques, Ana Rita Luís. "Fred Kradolfer.1903-1968. Designer gráfico influenciador e influenciado em Portugal." Master's thesis, Faculdade de Arquitectura de Lisboa, 2011. http://hdl.handle.net/10400.5/3657.
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Tese de Mestrado em Design de Comunicação<br>Tendo em vista o conhecimento do Design Gráfico em Portugal, estará em foco, como objecto de estudo, Fred Kradolfer (1903-1968) com as infl uências que trouxe para esta disciplina e para o país. Estudaram-se também os outros intervenientes mais próximos envolvidos neste processo, entre 1924 (data da chegada de Fred Kradolfer a Portugal) e o final dos anos 50.
Como objectivos primordiais, pretendeu-se com este estudo aprofundar
conhecimentos dos primórdios do Design Gráfi co em Portugal, mais propriamente a contribuição de Fred Kradolfer, entender qual o contributo, técnicas, visões e estilos que trouxe para Portugal, quem foi influenciado por ele e quem o influenciou. A partir destes dados decidimos estudar outros autores tais como José Rocha, Bernardo Marques, Carlos Botelho e Maria Keil. Este estudo é, assim, uma contribuição para a história do início do Design Gráfi co em Portugal, compilando a obra de Fred Kradolfer e relacionando-a com os autores acima referidos. Este levantamento e recolha de material disperso, proporciona um melhor entendimento do Design Gráfico e de como se desenvolveu e contribui para uma visão mais abrangente dos contextos que levaram ao que é o desenvolvimento actual da profissão, apoiando e dando bases para um melhor e mais consciente exercício da profissão.<br>ABSTRACT - Fred Kradolfer (1903-1968) was chosen as the subject of this study, given the present knowledge of graphic design in Portugal, and in the light of both what he brought to the discipline and his influence on it in this country.
We have also studied those most closely associated with him between 1924, the date of his arrival in Portugal, and the end of the 1950s.
Since this study aims to extend and deepen our knowledge of the origins of graphic design in Portugal, and the contribution of Fred Kradolfer in particular in terms of ways of seeing, techniques and styles of execution that he brought with
him, how his influences were shown, and in turn who he influenced. So we decided to extend our study to authors in his circle, José Rocha, Bernardo Marques, Carlos Botelho and Maria Keil, and relating.
This survey, it is hoped, may contribute to a better understanding of how graphic design developed in Portugal, and in what context, which may aff ord an awarenesss which may better inform current professional practice.
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Shamsavari, Sina. "Gay comics and queer male comics in America : history, conventions and challenges." Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/gay-comics-and-queer-male-alternative-comics-in-america(710bfb57-7e92-4806-9a9c-c13f51a2cdcc).html.
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This thesis is focused on American gay male comics and queer alternative comics. I argue that the field of gay male comics production is dominated by two key genres: gay porno comics and gay ghetto comics. The conventions and characteristics of these genres help to construct and reinforce a dominant gay male habitus that is both sexual and social. Drawing on interviews as well as close readings of a number of case studies, I discuss the ways in which alternative queer cartoonists respond to the conventions of these genres, and create alternative representations of gay identity, community, and sex. I argue ultimately that the field of gay male comics production is not entirely homogenous, and that the queer male alternative comics that appear from roughly 1990 onwards are distinctive. The gay male comics of the First Wave (from the 1970s to 1990) are concerned with constructing and consolidating a sense of gay identity and community as relatively unified and stable. While sometimes critical of gay culture, as a whole they ultimately affirm the ideal of a unified gay community. In contrast, the queer male alternative comics that emerged as part of the Second Wave (starting around 1990) are far more concerned with questioning the normative, dominant values of mainstream gay culture, and challenging the identities, tastes and practices associated with the dominant gay habitus. Nevertheless because the gay ghetto and gay porno genres have been so dominant, queer alternative cartoonists position themselves in various different relationships to one or other genre. While some do abandon the genre conventions of gay porno and gay ghetto comics, more often queer alternative cartoonists take up some of these genre conventions and adapt, challenge, or subvert them in subtle ways.
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Temin, Roberto. "A transformação da tecnologia do design gráfico: o início do uso do computador pessoal como ferramenta de trabalho nos escritórios de design gráfico na cidade de São Paulo." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-18092015-160232/.
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Até o final da década de 1980 sistemas computadorizados eram usados apenas na indústria gráfica. Poucos designers tinham acesso direto a essa tecnologia e o conhecimento sobre o assunto era escasso. Além da falta de informação, o governo brasileiro restringiu a importação de computadores estrangeiros limitando as opções para se trabalhar com essa nova ferramenta. É nesse contexto que o computador pessoal se tornou a ferramenta principal no campo do design gráfico. Esta pesquisa tem como objetivo o estudo da introdução do computador como ferramenta de trabalho nos escritórios de design gráfico em São Paulo. Uma investigação sobre a época em que os designers gráficos começaram a substituir seu método de trabalho. A partir de entrevistas feitas com profissionais atuantes em escritórios de design gráfico em meados de 1980 e análise de reportagens de jornais e revistas desse mesmo período, pretende-se resgatar a memória de uma mudança radical no modo de trabalho dos designers e mostrar as transformações, as dificuldades e as recompensas que as mudanças trazidas pela nova ferramenta proporcionaram ao campo do design gráfico.<br>Until the end of 1980s computerized systems were only used in the graphic industry. Few designers had direct access to this technology and the knowledge about the subject was scarce. Besides the lack of information, the Brazilian government restricted the importation of foreign computers limiting the options to work with this new tool. It is in this context that the personal computer became the main tool in the graphic design field. The main goal of this research is to study the introduction of the computer as a working tool in graphic design offices in São Paulo. An investigation about the time graphic designers began to replace your working method. Based on interviews made with active professionals in graphic design offices in the mid 1980s and analyzes of articles in newspapers and magazines from this period, this research intends to rescue the memory of a radical change in the way designers work, and show the transformations, the difficulties and rewards that the changes brought by the new tool provided to the graphic design field.
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Malone, Erin. "The contributions to the history of graphic design by Dr. Robert L. Leslie and the Composing Room, Inc., 1927-1942 /." Online version of thesis, 1994. http://hdl.handle.net/1850/11977.
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Neves, Alexandre Esteves. "Monteiro Lobato: editor gráfico (1918-1925)." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4579.
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O objetivo desta dissertação é mostrar como se deu o envolvimento de Monteiro Lobato com o design gráfico enquanto editor e gestor de suas editoras: a Edições da Revista do Brasil,
a Monteiro Lobato e Cia. e a Cia. Graphico-Editora Monteiro Lobato, no período de 1918 a 1925. A análise gráfica das publicações editadas por Lobato, neste intervalo, serviu como fio
condutor da pesquisa. Por fim, foi feita uma descrição gráfica dos exemplares coletados, que foram produzidos no mesmo período.<br>This dissertation aims to show how was the involvement of Monteiro Lobato with graphic design as editor and manager of their publishers: Edições da Revista do Brasil, Monteiro
Lobato e Cia. and Cia. Graphico-Editora Monteiro Lobato, from 1918 to 1925. The graphical analysis of publications issued by Lobato, meanwhile, served as guiding the research. Finally,
there was a graphic description of the collected specimens, which were produced in the same period.
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Vokoun, Jennifer Ann. "Diamond in the Rough: Telling the Story of Hough's League Park with Temporary Environmental Graphic Design." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1322515977.
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Gluibizzi, Amanda. ""The Entire Visual World": Art, Design, and 1960s New York." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342617358.
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André, José Carlos Mendes. "Quem não chora não mama! Panorama do design gráfico brasileiro através do humor 1837-1931." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-04102010-100708/.
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Esta tese é um panorama da história gráfica brasileira de 1837 até 1931, visto pela ótica da representação cômica, do design gráfico e da mentalidade. A idéia principal foi partir de um plano geral para encontrar na década de 1920 a obra conjunta do humorista Aparício Torelly, o Barão de Itararé, e do artista gráfico paraguaio Andrés Guevara. Passando pelos autores mais relevantes deste período, a inspiração rizomática é a própria cronologia, onde os assuntos relacionados a humor, design e mentalidade trepidam e se desdobram em conexões pertinentes e interessantes para o próprio tema. A tese foi concebida em três partes, a saber: A primeira versa sobre o objeto de conhecimento, objeto de estudo, metodologias e fontes; assim como fala brevemente sobre os autores principais Barão & Guevara , mote da estratégia de abordagem do assunto. A segunda parte destrincha os antecedentes históricos sob as óticas propostas através de uma amostragem de fontes primárias (imagens & autores) em contraponto com trechos de importantes fontes secundárias, costurado com comentários que vão propondo novas interpretações e olhares para os mesmos temas e objetos, sem aplicação de juízos de valor, mas apenas mostrando que foi assim que as coisas se passaram. A terceira parte está focada na década de 1920, e é onde encontro os autores alvo e aplico um detalhamento maior, evidenciando um momento de forte gênese e experimentação no design gráfico brasileiro frente à mudança completa de paradigmas com a introdução da estética modernista, e a assimilação e difusão acentuada dos valores burgueses no campo social.<br>This thesis is an overview of the Brazilian graphic history from 1837 to 1931, seeing by comic graph representations, graphic design and historical mentalities. The main idea was start from a general plan to reach in the 1920s the four hands works of the humorist Aparício Torelly (Barão de Itararé) and the Paraguayan graphic artist Andrés Guevara. Passing by the more relevant artists of this period, the root inspiration is the chronology itself, were the subjects related to humor, design and mentality tremble and unfolding pertinent and interesting connections for the own theme. The work was conceived in three parts: The first one runs upon the knowledge subject, application subject, methodologies and the wellspring of informations; as well as talk briefly about the main authors Barão de Itararé & Guevara , reason of the strategy subject approach. The second part clear up the historical foregoings under the proposed look through an stamp of original wellsprings (images and authors) put against extracts of the more important Brazilian bibliography, sewed with comments that proposes new interpretations and new looks over the same themes and subjects, without judgements, but just showing that was the way the things took place. The third part is focused on 1920 decade, and is where I meet the target authors and apply for more details, making evident the moment of strong creation and experimentation in the Brazilian graphic design face to the complete change of paradigms in order of the introduction of modernist esthetics and the assimilation and great dissemination of burgess values in the social field.
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Moraes, Didier Dominique Cerqueira Dias de. "Visualidade do livro didático no Brasil: o design de capas e sua renovação nas décadas de 1970 e 1980." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-11062010-131616/.
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Até o final da década de 1960, o livro escolar brasileiro era em sua maioria produzido dentro dos padrões técnicos e visuais da indústria livreira tradicional em relação estreita e participando do que se conhece como cultura escolar, em que a linguagem visual como modo de conhecimento e construção de significados não era devidamente reconhecida e valorizada. Com raras exceções, a visualidade do livro didático não tinha como referência a produção gráfica de melhor qualidade que aparecia em livros de literatura e outras mídias e não era produto de método projetual mais rigoroso e qualificado. Na década de 1970, com a expansão da indústria cultural e dos meios audiovisuais e o surgimento de novas referências de gosto particularmente para a juventude, a visualidade do livro didático praticada ficou ainda mais distante de seu público. As editoras existentes e as novas que surgiram com a expansão do ensino em todos os níveis, mesmo quando percebiam as mudanças de gosto ocorridas, ou não davam importância para esse fato, ou não sabiam como atualizar as linguagens de sua produção, ambos os aspectos sendo decorrentes da pouca cultura visual de seus dirigentes e do não reconhecimento do modo visual como expressão válida de conhecimento e do design como recurso para despertar o interesse pelo aprendizado e ferramenta de promoção de vendas. Será a editora Ática, por seu projeto editorial de inserção na produção de cultura mais ampla e de resposta às demandas decorrentes da vida política e cultural do momento vivido pelo país, que trará para o livro didático as mesmas preocupações com visualidade que precisava ter com seus produtos destinados ao público mais amplo. Assim, a editora promove uma profissionalização na produção visual, com a contratação de designers e ilustradores experimentados em outras mídias impressas, estas já bastante profissionalizadas na produção de linguagens que atingiam diversos públicos. A importância dada às capas, como meio de sedução para obter adoção entre os professores e adesão entre os estudantes, pela identificação com o universo visual desses segmentos, vai gerar uma renovação sem precedentes na visualidade do livro escolar e vai impulsionar editoras concorrentes a fazê-lo. As soluções gráficas originais de Ary Normanha, com a participação de Mário Cafiero, vão oferecer ao público a experiência com os significados criados pela linguagem visual em diálogo com o modo verbal, como atividade própria de uma cultura e de um aprendizado integrais. A par da ampliação da cultura imagética e das referências de gosto, as capas documentadas e analisadas mostram um momento em que o design do livro didático se equiparou ao melhor design encontrado em outros veículos da cultura no Brasil.<br>Until the end of the 1960s, Brazilian schoolbooks were in its majority produced according to the technical and visual standards of the traditional publishing industry, in close relation to what is known as school culture, by which the visual language as a way of acquiring knowledge and creating meanings was not duly recognized and valued. With a few exceptions, the visual presentation of schoolbooks had no compare with better quality graphics that turned up in literature books and other media. Moreover, it was not the result of a more rigorous and qualified, thoughtful design. In the 70s, with the expansion of cultural industry and audiovisual media and the emergence of new taste trends particularly among the youth, the visual image of schoolbooks drifted apart from its public even more. The existing publishing houses and the ones founded during the spreading of education in all levels would either dismiss this fact or not know how to update the language of their books even if they have noticed that changes in taste had occurred. These issues were due to the scarce graphical knowledge of the publishers and their non-recognition of the visual aspect as a valid expression of knowledge and of the design as a means for arousing the interest in learning and as a sales promotion tool. Amongst the biggest publishing houses in Brazil, Ática was the one that treated textbooks with the same graphic concerns it has had for its products aimed to a broader public, once it had embarked on the project of participating in the wider cultural production, responding to the demands of cultural and political scenes in that particular period the country was living in. Thus, Ática promoted the professionalization of graphic design in the schoolbook area by hiring designers and illustrators experienced in other media that were already developing languages that reached a diverse public. Considered as a way to conquer teachers and its students through their identification with its visual image, the book cover gained a significance that would generate an unseen renewal in the graphic design of schoolbooks and impelled Áticas competitors to do the same. The original graphical solutions introduced by Ary Normanha, with the collaboration of Mário Cafiero, would make the public experience meanings provided by the dialogues between visual language and verbal language, an outcome of a more comprehensive culture and learning. Besides their enhanced appeal and the cultural imagery they bring about, the book covers registered and analyzed herein show a moment when the design of the schoolbooks was of the same quality as the design found in other cultural media in Brazil.
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Moraes, Didier Dominique Cerqueira Dias de. "Uma trajetória do design do livro didático no Brasil: a Companhia Editora Nacional, 1926-1980." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-15022017-120740/.
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O presente trabalho tem como objeto a visualidade e a materialidade do livro didático pro- duzido pela Companhia Editora Nacional desde o início de suas atividades, em 1926, após sua fundação por Monteiro Lobato e Octalles Marcondes Ferreira, até 1980, quando foi incorporada a um grupo editorial que possuía estrutura própria de produção dos livros. Durante três décadas, a Nacional foi a maior editora do país e seus livros estiveram presentes na formação intelectual e de gosto de diversas gerações de brasileiros, produzindo memória individual e coletiva e integrando a cultura material e visual do país em sua época. Assim, o amplo levantamento produzido por esta pesquisa de memória gráfica, de cunho panorâmico e exploratório, pretende contribuir para integrar o livro didático, pouco estudado por ter uso temporal restrito e não possuir valor literário e científico, ao rol dos artefatos gráficos merecedores de atenção dos estudos de cultura material e de história do design brasileiro. Utilizando como critério exclusivo as características materiais e visuais das obras, o trabalho identificou seis momentos diferenciados na produção de design da editora, abordando em cada um deles possíveis nexos entre sua materialidade e visualidade e os principais fatores ou contextos nelas atuantes: a educação (estrutura de ensino, abordagens peda- gógicas e cultura escolar), a produção (tecnologia e práticas de trabalho) e as linguagens visuais e gráficas circulantes em cada época. A direção geral identificada nesse percurso foi de um mo- mento inicial caracterizado por extrema sobriedade e formalidade de capas exclusivamente tipo- gráficas e soluções padronizadas de composição e diagramação nos miolos até um momento final caracterizado por capas ilustradas ou fotográficas e soluções mais particularizadas e com forte presença de elementos pictóricos nos miolos. A par do desenvolvimento das tecnologias gráficas para a reprodução das imagens, o percurso mostra a própria trajetória das relações da cultura es- colar com as demais esferas da vida social no aspecto da visualidade, indo de um momento inicial de maior isolamento e retração a influências externas à cultura escolar até um momento de maior flexibilidade e permeabilidade a elas, particularmente à influência dos meios de comunicação de massas, com a valorização da imagem que os caracteriza.<br>The focus of this investigation was the visuality and materiality of school textbooks produced in Brazil by the Companhia Editora Nacional from its inception in 1926 by writer Monteiro Lobato and Octalles Mar- condes Ferreira to 1980, when the enterprise was incorporated into a publishing group operating under a proprietary publishing approach. For three decades, Nacional was the country\'s largest publisher, and its titles became integral to the intellectual training of, as well as to the development of book appreciation among, a number of Brazilian generations, while helping to build both individual and collective memory and integrate Brazil\'s material and visual culture during the period. As part of this panoramic, exploratory investigation of editorial graphic memory, an extensive survey was conducted willing to push the inclusion of school textbooks--to date poorly studied, given their limited useful lifespan and lack of first-hand liter- ary or scientific value--into a roster of graphic artifacts insufficiently addressed in investigations of Bra- zilian design history and material culture. Drawing exclusively on the material and visual characteristics of the books, six periods were identified in the design production at Nacional. For each period, the study addressed possible connections between, on the one hand, materiality and visuality and, on the other, the principal factors or contexts influencing the material and visual character of textbooks--namely, education (educational structure, pedagogical approaches, and school culture), production (technology and work practices), and the visual and typographic languages available at the time. A general trajectory was identified in this evolution, spanning from an initial point in time, characterized by the stark simplicity and formality of all-type covers and standardized textblock typography and layout, to a final period, character- ized by handmade or photography-based artwork and more individualized solutions, with a strong pres- ence of pictorial elements in the textblock. In addition to the growing refinement of graphic technologies for image reproduction, the trajectory reveals an evolution of the relationships established between school culture and other spheres of social life in terms of visuality, extending from an initial point in time, marked by a more pronounced isolation from and avoidance of influences foreign to the school culture, to a period of more evident flexibility and permeability to these influences, particularly those conveyed by mass media, with their intrinsic valuing of images.
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Rennie, Paul. "An investigation into the design, production and display contexts of industrial safety posters produced by the Royal Society for the Prevention of Accidents during WW2 and a catalogue of posters." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/5661/.
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The industrial safety posters produced by Royal Society for the Prevention of Accidents (RoSPA) during WW2 are evidence of a politically progressive, socially engaged and mass-produced graphic communication in Britain. These characteristics allow the RoSPA posters to qualify, by Walter Benjamin’s criteria, as exemplars of Modernist cultural production in the age of mechanical reproduction. The emergence of these images, within the unlikely context of war, is evidence of the social change identified by George Orwell as a necessary condition of victory. Furthermore, the presence of this material, within an English context, counters the prevailing orthodoxy of an English resistance to Modernism. The thesis describes the administrative and technical determinants of the posters, as indicated by the structure of RoSPA, the personalities behind the campaign and the technical expertise of the printers; Loxley Brothers of Sheffield. Quaker and Nonconformist antecedents are revealed to define the values of both administration and printers. The thesis explores the RoSPA posters’ use of Surrealist techniques and iconography and also their appeal to a wider and international Left community. The address of the RoSPA posters to the neophyte industrial worker offers the opportunity, exemplified by the special case of women workers, to project an “imagined community” beyond the normal tribal and class distinctions of British society through “Social Vision.” The RoSPA posters make explicit a connection, within English Modernism, between community, technology, progress and dissent. A catalogue of posters is appended to the thesis. The RoSPA posters reaffirm the progressive, emancipatory and radical quality of the popular experience of the Home-Front in Britain during WW2. The social changes, precipitated by the circumstances of war, of which the RoSPA posters are a manifestation, alter the role of graphic designer in relationship to community through an embrace of technology. The concept of graphic authorship is, in consequence, irrevocably changed.
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Dowd, Kevin. "Deconstructing the politico-visual : devising a novel system of practice-based methods in graphic design, informed by the visual structure of the Conservative Party poster (1979-2010)." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/34007/.
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This research project operates from the perspective of the author as graphic design practitioner and considers how practice-based visual methods may be used to form a novel system of analysis in graphic design research. The focus of this research is the Conservative Party poster, produced for the British General Elections held between 1979 and 2010. With practice at the core of the research methodology, visual design methods have been configured and applied to a range of material in order to generate insights about how visual language is used in a variety of contexts. The research includes a review of the graphic communication of the British political poster, existing visual methods, and practice-based research within the field of graphic design. From there, a system of practice-based methods was devised, and then applied to the Conservative Party posters. The design system employs methods that disassemble each poster into its individual components (type, image, hierarchy, colour and negative space), mapping each using simple visual techniques, before reassembling these components to identify trends and insights in relation to various political themes. In order to test this design system, these methods were applied to a very different type of visual communication material produced for Sense, a charitable organisation that advocates for the rights of deaf-blind people. This proved valuable to the study, and demonstrated how this system could function in a very different context. The output of this study proposes potential visual devices for aiding visually impaired readers engage with photographic imagery. The findings and visual outputs of this investigation are described in this thesis, and are also housed in a series of three books that form the practice component of this research project. This thesis aims to highlight the value of practice-based methods within graphic design research, and specifically, methods more exclusively available to the graphic design practitioner. Practice is of central importance to this research project, forming the core of the methodology, as well as the outputs produced in response to the research findings. Through establishing the visual characteristics of the Conservative Party poster (1979-2010), this research seeks to demonstrate how a novel system of practice-based methods might help further an understanding of visual communication design.
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Viegas, Patrícia Cativo. "“K” é capa." Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/13973.
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Tese de Doutoramento em Design apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Doutor.<br>A K foi uma revista publicada em Portugal, entre 1990 e 1993, com a direcção de Miguel Esteves Cardoso. Fruto de um encontro de gerações e de quadros de referências com interesses diversificados, a revista foi expressão editorial de uma elite cultural que introduziu um discurso livre e diferenciado na imprensa periódica da época. Com um grafismo elegante e arrojado, da autoria de João Botelho e Luís Miguel Castro, a K distinguiu-se como um objecto editorial sofisticado e bem impresso.
Esta investigação tem como objectivo realizar o estudo da K, no âmbito da história do design editorial produzido em Portugal, no início da década de 90, enquanto expressão visual de uma manifestação cultural geralmente designada como “pós-modernismo”. A filiação da K no universo do pós-moderno no design gráfico deve-se ao facto de a revista ter sido fruto da sua época, sendo concebida a partir de outras publicações que, por sua vez, materializavam visualmente esta tendência. Como tal, esta perspectiva temática fornece uma interpretação da revista num contexto mais amplo do que o português.
A temática do design gráfico no pós-modernismo é convocada a partir de vários contributos bibliográficos, os quais nos fornecem as linhas de orientação seguidas na interpretação da revista. O estudo procede ao levantamento exaustivo de todas as edições da K, sendo aí aferidos os seus atributos gráficos e editoriais. As publicações que a antecederam são também integradas na investigação, revelando uma rede complexa de autores, de referências gráficas e editoriais que estão presentes na sua genealogia. A recolha de testemunhos dos intervenientes na K colmata a ausência de bibliografia sobre a revista e suas antecedentes.
O design editorial da K fica caracterizado pela exploração de recursos formais e técnicos heterogéneos. Desse modo, esta publicação distanciava-se criticamente do despojamento formal e da busca de coerência típicos do modernismo internacionalista, que dominara as décadas anteriores enquanto modelo de referência. Manifestou-se na importância atribuída à dimensão estética, na autonomia crescente dos designers na interpretação visual dos textos, na liberdade com que decidiam alguns títulos e, finalmente, no modo como se estabelecia a interacção entre imagem e texto.<br>ABSTRACT: K was a magazine published in Portugal between 1990 and 1993, under the direction of Miguel Esteves Cardoso. The result of a meeting of generations and reference frame with diversified interests, the magazine was the editorial expression of a cultural elite which introduced a free and differentiated speech in the periodical press of the time. With an elegant and bold graphics, by João Botelho and Luis Miguel Castro, K distinguished itself as a sophisticated and well printed editorial object.
This research aims to conduct the study of K within the history of editorial design produced in Portugal in the early 90s, as a visual expression of a cultural event commonly referred to as “postmodernism”. The affiliation of the K in postmodern graphic design is due to the fact that the magazine was a product of its time, being designed from other publications, which, in turn, visually materialized this trend. As such, this thematic perspective provides an interpretation of the magazine in a broader context than the Portuguese.
The theme of graphic design in postmodernism is summoned from several bibliographic contributions, which provide us with the guidelines followed in the interpretation of the magazine. The study proceeds to the exhaustive survey of all editions of K, and then measured their graphics and editorial attributes. The publications that preceded the magazine are also integrated in survey, revealing a complex network of authors, of graphic and editorial references, that are present in its genealogy. The collection of testimonies of those involved in K fills the lack of literature about the magazine and its background.
The editorial design of the K magazine is characterized by the exploration of heterogeneous formal and technical resources. Thus, this critically distanced the publication of formal simplicity and the search for typical consistency of internationalist modernism, which dominated the previous decades as a reference model. Expressed on the importance attributed to the aesthetic dimension, on increasing autonomy of the designers in the visual interpretation of the texts, the freedom with which decided a few titles and, finally, in the way they established the interaction between image and text.<br>Projecto desenvolvido com o apoio financeiro da FCT (SKRH/BD/81720/2011)<br>info:eu-repo/semantics/submittedVersion
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GODOY, Guilherme Tadeu de. "Design gráfico e resistência: análise dos cartazes do Movimento Feminino pela Anistia no período da ditadura." Universidade Anhembi Morumbi, 2017. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1687.
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Previous issue date: 2017-06-30<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This dissertation analyzes pos- ters of the women’s movement for amnesty during the dictatorship pe- riod, more specifically those produ- ced between 1975 and 1979 and hou- sed among the archives of the Edgard Leuenroth Archive (AEL) of the Insti- tute of Philosophy and Human Scien- ces of the University Campinas (IF- CH-Unicamp), the Documentation and Scientific Information Center Pro- fessor Casemiro dos Reis Filho of the Pontifical Catholic University of São Paulo (CEDIC), the Documentation and Memory Center of the State Uni- versity of São Paulo (CEDEM) and the Perseu Abramo Foundation.
The experiences of visitation and access to these archives are descri- bed, as well as the thematic quanti- tatives of the poster medium found during the research, listing the struc- tural elements and the limitations found. Furthermore, the text clarified the path traced until the final selection of only two posters: Feminine Move- ment for Amnesty and Get Out of the Shadow / tell with us / freedom, both from 1975 and without known author- ship.
The analysis seeks to unders- tand the mechanisms of visual pro- duction - the design and the articula- ted visual elements - of each poster, as well as the historical-cultural chain that the Brazilian visual arts experien- ced during this period, mainly investi- gating relations that transcend one’s own poster.<br>Esta dissertação realiza uma análise dos cartazes do movimento feminino pela anistia no período da ditadura, mais especificamente os produzidos entre os anos de 1975 e 1979 e distribuídos entre os acervos do Arquivo Edgard Leuenroth (AEL) do Instituto de Filosofia e Ciências Humanas da Universidade de Campinas (IFCH-Unicamp), do Centro de Documentação e Informação Científica Professor Casemiro dos Reis Filho da Pontifícia Universidade Católica de São Paulo (CEDIC), do Centro de Documentação e Memória da Universidade do Estado de São Paulo (CEDEM) e da Fundação Perseu Abramo, do Partido dos Trabalhadores. São descritas as experiências de visitação e acesso a estes arquivos, assim como os quantitativos temáticos do suporte cartaz localizados durante a pesquisa, elencando os elementos estruturais e as limitações encontradas, além de esclarecer o caminho que foi traçado até a seleção final de apenas dois cartazes: Movimento Feminino pela Anistia e Saia da sombra/ diga conosco/ liberdade, ambos de 1975 e sem autoria conhecida. A análise busca entender os mecanismos de produção visual - o design e os elementos visuais articulados - de cada um dos cartazes, assim como também a cadeia histórico-cultural que as artes visuais brasileiras experimentaram nesse período, investigando, principalmente, as relações que transcendem o próprio cartaz.
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Hamalainen, Bonnie. "Stories in Stone: Interpreting history in the context of a museum exhibition." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/10.
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This project examines opportunities for history exhibition design practices. Research into museum studies and creative work in typography, photography, graphic design and architecture result in curation and design of a prototypical exhibit about the granite quarrying industry of Stonington, Maine.
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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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Sandberg, Emma. "Respektfull design: För ökad förståelse och vilja att förändra : FUCK ME, en utställning om den svåra sjukdomen ME/CFS." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79356.
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In this essay, I go through the different parts that compile my degree project. I have explored the power of graphic design for educational purposes. During my process, I have found a new area of graphic design, respectful design. Something that can be briefly described as design created with the greatest reverence for conveying a difficult subject without diminishing the affected person behind. An approach where one works closely with the involved and frequently checks in, so that nothing is portrayed incorrectly. This along with the constant search for information makes up the basics of respectful design. The disease ME has finally begun to be talked about in society. But the way the disease is portrayed can be argued as incorrect in relation to the bigger picture. As a graphic designer I have analyzed the problem and worked out a possible solution. My conclusion is that strong colors mixed with melancholy and straightforward information can make the subject less heavy and easier to handle. This can open the senses to problem solving and understanding instead of stopping at pity. The aim of the project has been to get away from these dark quilts that the media has placed on us. The goal was to create something that does not hide the awfulness of the disease but informs in a more fun and more inviting way. I strongly believe that graphic design can reduce the social stigma around a topic if done properly. When life is the toughest it has helped me and (after the response of the exhibition) others to learn more about our disease. Above all, if more people know more about the disease, ME- patients will get help. Hopefully society will open it’s arms so that no more people are forced to choose suicide.<br>I denna uppsats går jag igenom de olika delarna som sammanställer mitt examensprojekt. Jag har i grunden utforskat kraften av grafisk design i utbildningssyfte. Under min process har jag kommit fram till ett nytt område inom grafisk design, respektfull design. Detta går kort att beskriva som design utformat med största vördnad inför att förmedla ett svårt ämne utan att förminska den drabbade människan bakom. Respektfull design innebär att man jobbar nära med inblandade, kollar av hela tiden så att inget porträtteras felaktigt och läser på om ämnet så långt det går. Sjukdomen ME har äntligen börjat talas om i samhället. Men sättet sjukdomen porträtteras kan argumenteras som svartvitt och felaktigt gentemot helhetsbilden. Som grafisk designer har jag analyserat problemet och jobbat fram en möjlig lösning. Min slutsats är att starka färger blandat med melankolisk och rak information kan göra ämnet mindre tungt och mer lätthanterligt. Detta kan öppna sinnena för problemlösning och förståelse istället för att stanna vid medlidande. Syftet med projektet har varit att komma ifrån detta mörk täcke som media lagt över oss. Målet var att skapa något som inte döljer det hemska med sjukdomen men informerar på ett roligare och mer inbjudande sätt. Jag tror stark på att grafisk design kan minska det sociala stigmat runt ett ämne om det görs på rätt sätt. När livet är som tuffast har det hjälpt mig och (efter respons av utställningen) också andra med att utbilda och läsa på. Framför allt om fler vet mer om sjukdomen kommer det att gå att få bättre hjälp. Förhoppningvis öppnar samhället sina armar så att inte fler tvingas till att välja självmord.
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Camargo, Iara Pierro de. "O Departamento de Design Gráfico da Cranbrook Academy of Art (1971-1995): novos caminhos para o design." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-26012012-155305/.
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A partir da análise dos trabalhos do departamento de design da Cranbrook Academy of Art, durante o período coordenado por Katherine McCoy (1971 a 1995), este trabalho procura identificar os novos caminhos desenvolvidos pela escola para a prática do design gráfico contemporâneo, e em especial a concepção do design como parte do processo de comunicação. O design até os anos 1970 era regido por pressupostos formais, funcionais e neutros, o que talvez não permitisse entendê-lo como linguagem visual, em si, mas como mero suporte para o texto. Na escola, a abordagem funcionalista foi questionada nos anos 1970 e, a partir daí, nos anos 1980, inspirados por conceitos teóricos do pós-estruturalismo e pós-modernismo, foram introduzidas novas ideias a fim de legitimar o designer também como produtor de conteúdo. Ao buscar referências teóricas no pós-estruturalismo, percebeu-se a importância do receptor na interpretação da mensagem, assim como a necessidade de se produzir peças gráficas que encorajassem, a partir da relação do conteúdo com a forma gráfica, a participação do público. A escola, de modestas proporções, cuja média era a de 8 alunos ingressantes por ano, era baseada no ensino em estúdio, não possuía grade curricular fixa, nem disciplinas regulares. Os discentes eram sempre encorajados a pesquisar e se desenvolver. Muitas das pesquisas e resultados dos trabalhos são frutos da reflexão individual de cada aluno, inspirados pelo ambiente em contínuo desenvolvimento. A Cranbrook foi, dessa maneira, formadora de muitos dos principais designers norteamericanos atuais, como por exemplo Allen Hori, Andrew Bleauvelt, David Frej, David Shields, Ed Fella, Elliot Earls, Geoff Kaplan, Jane Kosstrin, Jeff Keedy, Kimberly Elam, Laurie Haycock Makela, Loraine Wild, Lucille Tenazas, Martin Venezky, Meredith Davis, Michael Carrabeta, Nancy Skolos, Richard Kerr, Robert Nakata, Scott Makela (1960-1999), Scott Santoro, Scott Zukowsky, entre outros. Cada um deles possuiu um papel particular e muitos compartilhavam idéias semelhantes, mas a maior parte deles procurou ampliar o campo do design gráfico agregando conteúdos mistos e abrindo-se a novas possibilidades de produção e reflexão sobre a relação entre texto e imagem.<br>With the analysis of the works from Cranbrook Academy of Art´s Design Department, under Katherine McCoy\'s Co-Chairmanship (1971 to 1995), this work intends identify the new ways developed by the School for the practice of contemporary graphic design, focusing on the concept of the design as part of communication process. Until the years 1970 design was ruled from the formal, functional and neutral presuppositions of Modernity, without the understanding of design as a visual language itself, but only as a mere support the text. In the 1970\'s the School questioned the functionalist approach, and during the 1980\'s years, new ideas were introduced to legitimate the designer as producer of contents, inspired by post-structuralism and post-modern concepts. Theoretical references in post structuralism stressed the importance of the receptor\'s interpretation of the message, as well in the importance of producing graphic works that encourage the participation from the public audience, founded in the relationship between content and graphic form. The School\'s graphic design program was modest in size 8 new students per year - and was studio-based without a fixed curriculum of courses and classes. The students were challenged to research and develop their individual expressions. Their research and resulting works are the fruit of the students\' individual reflection inspired by the continuously developing environment. Cranbrook produced many of the most important contemporary North American designers, such as Allen Hori, Andrew Bleauvelt, David Frej, David Shields, Ed Fella, Elliot Earls, Geoff Kaplan, Jane Kosstrin, Jeff Keedy, Kimberly Elam, Laurie Haycock Makela, Lorraine Wild, Lucille Tenazas, Martin Venezky, Meredith Davis, Michael Carrabeta, Nancy Skolos, Richard Kerr, Robert Nakata, Scott Makela (1960-1999), Scott Santoro, Scott Zukowsky, and others. Each one had a particular role play and many shared similar ideas, as they worked to enlarge the graphic design field with mixed contents and explored new possibilities of production and new roles for text and image.
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Howard, Justin K. "The Barbershop: a photographic documentation and exhibition." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/854.
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In this project I explore the environment that surrounds and frames my life experiences. Interests in form, architecture, vernacular typographyand community blend into a photographic documentationcommunicating my perceptual experience of Richmond barbershops through public exhibition.
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Bandeira, Ana da Rosa. "Diário Popular de Pelotas, RS : a forma gráfica de um projeto editorial (1890-2016)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/178461.
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A pesquisa tem como objetivo geral identificar as transformações gráficas e editoriais do jor-nal Diário Popular de Pelotas no período de 1890 a 2016, tensionando como estas se relaci-onam com o caráter local do periódico e as mudanças contextuais e tecnológicas que incidem sobre a publicação. Os procedimentos metodológicos baseiam-se no modelo apresentado por Fonseca, Gomes e Campos (2016) para investigações no âmbito da história do design a partir de materiais impressos. Abrangem a aproximação do pesquisador do contexto sócio-histórico do impresso a partir de pesquisa bibliográfica e documental e análise gráfica do periódico em si. O corpus de análise é composto das edições de aniversário do jornal publicadas a cada início de década, além de outras 5 edições consideradas relevantes no levantamento de pré-análise realizado, o que resultou em total de 18 edições, avaliadas em seus aspectos editoriais (capa, editorias, colunas e seções especiais, suplementos e cadernos especiais) e gráficos (su-porte, formato, grid, o nome do jornal, tipografia e imagens). Observa-se que a construção da identidade editorial e gráfica do jornal está associada a princípios do jornalismo local regional e volta-se para o âmbito de circulação do periódico – Pelotas e cidades em seu entorno. A organização editorial em seções e colunas especiais bem como a hierarquia de informações que priorizam o noticiário local (com a maior editoria, com cadernos especiais ou com espa-ços de destaque) dão visibilidade a estes princípios. Ao longo do período avaliado, tem-se uma consistência editorial e gráfica, ainda que o jornal passe por adaptações relacionadas a mu-danças tecnológicas e contextuais. Estas mudanças são explicitadas aos leitores como estra-tégia para renovar o contrato de leitura entre o periódico e seu público, especialmente nas edições de aniversário do jornal, onde a publicação conta e reconta sua história, reafirmando seu papel na comunidade em que circula.<br>The general objective of the research is to identify the graphic and editorial transformations of the newspaper Diário Popular de Pelotas between 1890 and 2016, tensioning how these relate to the local character of the journal and the contextual and technological changes that affect the publication. The methodological procedures are based on the model presented by Fonseca, Gomes and Campos (2016) for investigations into the history of design from printed materials. It covers the researcher's approach to the socio-historical context of the print from bibliographical and documentary research and graphic analysis of the journal itself. The cor-pus of analysis is composed of the newspaper's anniversary editions published at the begin-ning of each decade, as well as five other issues considered relevant in the pre-analysis survey, which resulted in a total of 18 editions, evaluated in their editorial aspects (covers, sections, columns and special pages, inserts and supplements) and graphic aspects (support, format, grid, newspaper name, typography and images). It can be observed that the construction of the editorial and graphic identity of the newspaper is associated with the principles of lo-cal/regional journalism, and turns to the scope in which it circulates – Pelotas and its sur-rounding cities. The editorial organization in special sections and columns, as well as the hierarchy of information that prioritizes the local news (with the largest section, supplements or with prominent spaces) lends visibility to these principles. Throughout the evaluated pe-riod, there is an editorial and graphic consistency, although the newspaper goes through ad-aptations related to technological and contextual changes. These changes are made explicit to readers as a strategy to renew the contract of reading between the paper and its public, especially in the newspaper's anniversary editions, where the publication tells and recounts its history, reaffirming its role in the community in which it circulates.
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Sabo, André Lacroce. "Ruben Martins: trajetória e análise da marca rede de hotéis tropical." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-02022012-111229/.
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Esta dissertação tem como principal objetivo a introdução à obra do designer Ruben de Freitas Martins (1929 - 1968), apreendendo a sua trajetória e algumas das principais características criativas de seu trabalho. Ele iniciou sua carreira como artista plástico, derivando-a para o design até atingir a posição de empresário do setor, engajado na divulgação da profissão no Brasil. Nessa condição, durante a década de 60 dirigiu a Forminform, considerado o primeiro escritório de design do país. Na primeira parte da dissertação, com o intuito de analisar de forma eficaz e comparativa o seu trabalho, buscamos investigar e reconstruir a trajetória de Ruben Martins, sua formação profissional e o círculo social com o qual conviveu. Para tanto, foi realizado um levantamento de dados sobre a história e o contexto do designer, incluindo a coleta de matérias jornalísticas, artigos e entrevistas realizadas com personalidades que possuem informações sobre o próprio, como João Carlos Cauduro e Karl Heinz Bergmiller, além da constante pesquisa junto ao Acervo Pessoal de Ruben Martins, recolhido pela família. Na segunda parte, encontra-se a análise detalhada de um de seus principais trabalhos, a marca criada para a Rede de Hotéis Tropical (1967), \"leitura\" esta construída a partir do rebatimento das informações levantadas na primeira parte do trabalho.<br>This dissertation has as main objective the introduction to the work of designer Ruben de Freitas Martins (1929 - 1968), seizing his career and some key features of his creative work. He began his career as an artist, deriving her to the design to reach the position of manager of the sector, engaged in spreading the profession in Brazil. In this condition, during the 60´s, directed the office Forminform, considered the first design office in the country. In the first part of the dissertation, in order to effectively analyze and compare their work, we investigate and reconstruct the trajectory of Ruben Martins, vocational training and social circle with whom he lived. To that end, we conducted a survey about the history and context of the designer, including collection of news stories, articles and interviews with personalities who have information about him, as João Carlos Cauduro and Karl Heinz Bergmiller, farther the constant search with the Personal Collection of Ruben Martins, picked up by family. The second part is the detailed analysis of one of his major works, the brand created for the Network of Tropical Hotels (1967), the \"reading\" is built from information gathered in the first part of the dissertation.
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Daniels, Aisha J. "The What If Collection." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5865.
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The What If Collection is a visual narrative that confronts white supremacy, the social, economic, and political ideology used to subjugate black civilization via colonial rule and enslavement in history and via structural racism today. Many white people have been socialized into a racial illiteracy that fosters white supremacy. This racial illiteracy fails to realize and understand the destructive effects of Western dominance on the rest of the world, particularly on past and present Africa and her diaspora. In response, utilizing discursive design, the collection constructs a counter-story that depicts a shift in the power structure in which the white oppressor is placed in the historical experience of the black oppressed. Moving forward from the past, a contemporary society is visualized where black people are the dominant force.
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Nogueira, Julio Cesar Giacomelli. "Letra e imagem : a tipografia nas capas de livros desenhadas por Eugenio Hirsch." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284076.
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Orientador: Anna Paula Silva Gouveia<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T17:41:14Z (GMT). No. of bitstreams: 1
Nogueira_JulioCesarGiacomelli_D.pdf: 6716028 bytes, checksum: 95f6712016a187afca3bf990f315211e (MD5)
Previous issue date: 2009<br>Resumo: Eugênio Hirsch (Viena, 1923 - Rio de Janeiro, 2001) é mais conhecido por seu trabalho na editora Civilização Brasileira na primeira metade da década de 1960. Sua atuação na editora do Rio de Janeiro foi marcada pela versatilidade de recursos visuais e pela ampla liberdade concedida pelo editor Ênio Silveira. No mesmo período produziu capas para a editora Globo, de Porto Alegre, em quantidade muito inferior, mas com a mesma liberdade e qualidade. Após passagem pelos EUA, Hirsch foi contratado pela editora madrilenha Codex como diretor de arte da Coleção Museus do Mundo, e retornou ao Brasil no final dos anos 1960, passando a trabalhar para a Livraria José Olympio Editora. Esta dissertação tem como tema central a relação entre o lettering e as imagens no trabalho de Hirsch. Essa relação é estudada a partir da análise das capas de livros produzidas por Hirsch entre 1959 e 1976. Dentro dessa amostragem abrangente são identificadas as características mais marcantes e recorrentes do desenho de letras nas capas do designer austríaco. Também é apresentada uma pequena amostra da produção de alguns capistas que atuaram no Brasil nas décadas de 1930, 1940 e 1950, fornecendo uma visão mais acurada da importância do trabalho de Eugênio Hirsch.<br>Abstract: Eugênio Hirsch (Vienna, 1923 - Rio de Janeiro, 2001) is best known by his work for the publishing house Civilização Brasileira in the first half of the 1960s, wich was marked by a large range of visual resources used with great freedom granted to him by editor Ênio Silveira. In the same period he made book covers for Globo, a publishing house based on the city of Porto Alegre. Although less expressive in number, these covers kept the same quality and freedom. After a short period in the USA, Hirsch was hired by Madri based publishing house Codex as art director, being responsible for El Mundo de los Museus collection. When returning to Brazil in the end of the 1960s, he begun to work for Livraria José Olympio Editora, in Rio de Janeiro. This research is centered in the relation between letters and images in Hirsch's book covers. This relation is studied by analizing the book covers made by Hirsch between 1959 and 1976. In this wide sampling, the most relevant and recurring caractheristics related to lettering and type in Hirsch's work are identified. Also presented is a sample of the graphic work done by some cover artists that had worked in Brazil during the 1930s, 1940s and 1950s, allowing a more accurate perception of the importance of Eugênio Hirsch's work.<br>Doutorado<br>Artes<br>Doutor em Artes
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Hrádková, Jana. "Anthology of Unspoken: Surreal Complexity of Mind." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2021. http://www.nusl.cz/ntk/nusl-445692.
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The diploma thesis Anthology of Unspoken is a form of personal therapy, a coping mechanism in the shape of an extensive personal research presented by visually eclectic web, which maps the perception of depression and melancholy in terms of historical, artistic, and partly academic discourse. AoU takes the form of a website on the border of an archive and a research blog, which visually reminds a notebook with the use of texts in the form of notes, reader view essays, and accompanying visual material (period paintings, pop-cultural references, emoticons etc.). This diploma thesis has two main goals. Firstly, it represents a way of finding means to articulate and at least fractionally understand my own problems. Secondly, it is a way of finding answers to the following questions: Is depression really a modern matter of the 21st century? Why is it so difficult to talk about it? Where do the shame and feeling of guilt, with which it is inextricably associated with, come from? Is melancholy synonymous with depression, or do these terms differ from each other? And is depression really a disease or is it only a sign of my own failure?
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Liu, Jennifer. "Design history motion graphics video /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/23.
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Thesis (B.F.A.)--California Polytechnic State University, 2009.<br>Project advisor: Kathryn E. McCormick. Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.
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Sesma, Prieto Manuel. "El movimiento de la Grafía Latina y la creación tipográfica francesa entre 1945 y 1960." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/290609.
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El tema de esta investigación es la construcción de las teorías publicadas por Maximilien Vox y otros autores sobre la Grafía Latina, un movimiento que surgió dentro de la tipografía francesa tras la Segunda Guerra Mundial. El contexto en el que se desarrolló, entre 1950 y 1965, estaba marcado por el auge de las ideas del Movimiento Moderno, impulsadas por la expansión de las mismas a través de la Escuela Suiza de la tipografía internacional.
Frente a ellas, la Grafía Latina se presentaba como un conjunto de teorías de carácter tradicionalista y bases nacionalistas cuyo objetivo principal era el de recuperar el papel protagonista de la tipografía francesa y devolver la confianza a los profesionales de la imprenta de aquel país. A su vez, el surgimiento de la Grafía Latina estuvo marcado por las presiones del mercado tipográfico internacional y el declive de la producción propiamente francesa, así como por los avances tecnológicos hacia la fotocomposición, que amenazaban con desterrar cinco siglos de tradición. Ante este panorama, la Grafía Latina proponía recuperar un espíritu de latinidad universalista fundamentado en un legado histórico que sirviera de base para la recuperación francesa y la construcción de nuevos usos y modelos adaptados a las nuevas tecnologías.<br>In this investigation my main focus has been on the construction of the theories published by Maximilien Vox and other authors on the idea of Graphie Latine in a period where the ideas of the Suisse international school was expanding all over the world.
The main objective of this research is on the one hand to put this movement into history, as it’s a movement that is particularly unknown. And in a second hand, my objective is to show how the story of graphic design and typography history is not linear. The history of graphic design and typography has been told principally from the vision of modern design. But there were movements that were opposed to it in different places and in different moments. One of them is the particular story of the Graphie Latine which took place in France and developed from 1950 to 1965.
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Pereira, Carla Patrícia de Araujo. "A cor como espelho da sociedade e da cultura." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-19082013-111907/.
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Com base em um referencial teórico que incluiu a história da arte e do design, a semiótica e estu-dos da cor na cultura, esta tese defende a ideia de cor como linguagem e construção cultural, observando seu uso em diferentes sistemas de significação, no design e, especialmente, no design de embalagens. O trabalho parte da evolução da linguagem visual da embalagem, observada en-tre o final do século XIX e o início do século XXI, expondo as mudanças ocorridas no design como expressão dos diferentes momentos da sociedade e da cultura visual ocidental, e resgatando a importância histórica das cores para a comunicação. Num segundo momento revisam-se funda-mentos da semiótica, transpondo-os para a abordagem da cor como signo e para a investigação da linguagem cromática como um sistema. Para explicitar os princípios estruturais dessa lingua-gem, os significados atribuídos às cores e aos atributos cromáticos são revisados por meio de pesquisa bibliográfica. Através de estudo empírico, esta tese examina a linguagem cromática do design de embalagens contemporâneo, a partir de um corpus de embalagens de alimentos co-mercializados no Brasil. Os resultados mostraram que o sistema de significados da cor no design de embalagens se apoia tanto nos campos associativos gerados pelos atributos de matiz, clarida-de e saturação das cores, quanto nas oposições cromáticas e semânticas que tais características criam. A abordagem do estudo foi além da análise estrutural, envolvendo simultaneamente aspec-tos sintáticos, semânticos e pragmáticos da cor, buscando explicitar sua utilização como instru-mento para a difusão de ideias e valores. Foi observado que as cores assumem funções visuais, icônicas, indiciais e simbólicas na comunicação da embalagem. No nível simbólico, os sentidos mais frequentes assumidos pelas cores corresponderam a diferentes discursos que orientam as práticas alimentares contemporâneas. A pesquisa mostrou que o design dialoga com outros sis-temas de significação e resgata, difunde e reelabora o simbolismo das cores para construir ima-gens de qualidade, pureza, bem-estar, saúde, ecologia e feminilidade, entre outras, refletindo concepções ideológicas e culturais que têm lugar na vida contemporânea.<br>Based on a theoretical referential which included art and design history, semiotics and cultural studies of color, this thesis supports the idea of color as language and cultural construction, observing its use in different systems of signification, in design and, particularly, in packaging design. The work starts from the evolution of visual language of packaging, observed between late 19th century and early 21st century, showing the changes occurred in design as an expression of the different moments of western society and visual culture, and bringing back the historical importance of colors in communication. Secondly, the work reviews the fundamentals of semiotics, transposing them to the approach of the color as a sign, and to the investigation of color language as a system. In order to explain the structural principles of this language, the meanings of colors and chromatic attributes are reviewed through bibliographical research. Through an empirical study, this thesis examines the chromatic language of contemporary packaging design, from a corpus of food packaging commercialized in Brazil. The results showed that the system of significations of color in packaging design leans both on the associative fields generated by the attributes of color -- hue, brightness and saturation -- and on the chromatic and semantic oppositions that such characteristics create. The study approach went beyond the structural analysis, involving simultaneously syntactic, semantic and pragmatic aspects of color, trying to explain its use as a tool for the diffusion of ideas and values. It was observed that the colors assume visual, iconic, indexical and symbolic functions in the packaging communication. In the symbolic level, the most frequent senses assumed by the colors corresponded to different discourses which guide the contemporary food practices. The research showed that design communicates with other systems of signification and rescues, spreads out and reconstructs the color symbolism to construct images of quality, pureness, welfare, health, ecology and femininity, among others, reflecting ideological and cultural conceptions which have their place in contemporary life.
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Lu, Dandan. "Design graphique à l'ère de la Chine postmoderne." Phd thesis, Université Paul Valéry - Montpellier III, 2012. http://tel.archives-ouvertes.fr/tel-00756477.
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Comparé à l'art contemporain chinois qui ne cesse de caracoler en tête du marché de l'art, le design graphique est un objet artistique, industriel et populaire, modeste dans ses ambitions culturelles. Toutefois ses enjeux présentent un important intérêt scientifique dès lors que toutes les productions spécifiques du design s'adressent davantage au peuple chinois qu'aux étrangers. Soumis à des commanditaires économiques et politiques, le design graphique en tant qu'objet de recherche témoigne non seulement des luttes existant à l'intérieur du champ du design chinois mais également de celles qui se livrent en pleine Chine postmoderne. Dans le cadre théorique des Etudes Culturelles, cette thèse considère que le design graphique recèle une fonction sociale et politique significative en Chine, dont les enjeux excèdent ceux que l'on pense être susceptibles de répondre à une simple fonction de communication commerciale. A partir d'analyse de quelques productions graphiques emblématiques historiques, cette recherche s'interroge sur la réactualisation de l'identité culturelle chinoise, en crise aujourd'hui. Au cours des périodes moderne, maoïste et postmoderne, le design graphique n'a cessé de participer à l'esprit du temps dominant. En tant que dispositif actif, socio-formant l'esprit et relevant de la culture, le design graphique intervient dans les processus de construction identitaire individuelle et collective. Cette recherche, après avoir rendu compte des rapports parfois ambigus ou incertains, exercés par les modèles graphiques hégémoniques et concurrentiels, s'attache à décrypter les actuelles tensions révélatrices de valeurs et visions du monde contradictoires.
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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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Maiden, Shelby. "The Commodity Club: Commodity Fetishism in Modern Art and Tattoos." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/467.
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The current culture of commodity fetishism that surrounds both modern art and tattoos are disproportionately a part of the perpetuation of an artificial sense of society and community. It promotes the notion that by simply by inking the deeper layers of their skin or by spending millions on a painting that somehow one becomes elevated and enters an elite space, or club, of people like them.
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Mayer, Jonna. "World Automatic (((((The Really Real Project)))))." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6949.
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In a prospective post-work society, a select group of citizens participate in a cross-temporal project. As we follow along their journeys, questions arise. How does time move when it is no longer a commodity? What is design in the age of rampant robotics? How do we define creativity? What is wasted potential, and is it possible to be a failure? Most importantly, can fiction teach us anything about reality?
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Mizanzuk, Ivan Alexander. "A narrativa histórica de Alexandre Wollner sobre o design brasileiro em sua relação com arte, indústria e tecnologia." Universidade Tecnológica Federal do Paraná, 2015. http://repositorio.utfpr.edu.br/jspui/handle/1/1703.
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O presente trabalho busca realizar uma investigação acerca das narrativas históricas que o designer gráfico Alexandre Wollner montou sobre o desenvolvimento da própria profissão no Brasil, enfocando as formas pelas quais seu discurso aponta relações entre o design (com maior ênfase do design gráfico) e as artes visuais, o desenvolvimento industrial e noções sobre tecnologia. Primeiramente, a fundamentação teórica buscou diálogos com historiadores do design, com Mikhail Bakhtin, especialmente seus conceitos sobre “ideologia” e “discurso”, e a teoria de autonomia de Campo de Pierre Bordieu aplicada na prática artística. Em seguida, apresenta-se a trajetória de Wollner, relacionando-a com os momentos de desenvolvimento industrial do Brasil e, por fim, abordam-se três de seus textos de caráter histórico, escritos em momentos distintos (1964; 1983; 1998), nos quais o autor analisado buscou apontar as origens, eventos e nomes marcantes da profissão. No decorrer do trabalho, aponta-se a importância do contato de Wollner com as ideologias modernistas europeias de matriz abstrata e racionalistada Hochschule für Gestaltung Ulm (HfG Ulm), escola alemã de design da cidade de Ulm, na década de 1950. Tal discurso modernista entendia a prática do design como um método de caráter científico, diferenciando-se assim de práticas artísticas mais recorrentes em alguns ambientes produtivos. Wollner buscou aplicar esses ideais em sua prática profissional, sendo a formação do escritório paulista forminform, em 1958, uma das primeiras expressões de tal postura, e na sua prática acadêmica, tendo auxiliado na formação da Escola Superior de Desenho Industrial (ESDI), no Rio de Janeiro, em 1963. Tais ideais modernistas condiziam com os momentos de desenvolvimento industrial brasileirodo governo de Juscelino Kubitschek (1956–1961) e do “Milagre Econômico” do governo militar brasileiro (1968–1973). Wollner argumentava acerca da necessidade do desenvolvimento design nacional como um diferencial produtivo e tecnológico que auxiliaria o crescimento da indústria nacional, baseado na concepção no modelo projetual alemão de Ulm. Defende-se que a trajetória profissional e intelectual de Alexandre Wollner, em seus esforços de pensar uma história do design brasileiro através da escolha de pioneiros da profissão, pautou-se num “modelo ideal” de design, deixando de lado experiências modernistas da década de 1950. Tal postura refletiria uma busca pela validação da própria profissão que surgia de forma mais pontual no meio produtivo brasileiro, buscando a criação de um espaço de diferenciação para com práticas anteriormente estabelecidas, geralmente ligadas àquelas de artistas gráficos.<br>This work aims to investigate the historical narratives in which the graphic designer Alexandre Wollner assembled about the development of its own profession in Brazil, focusing the ways in which his discourse points relations among design (with greater emphasis in graphic design) and visual arts, the industrial development and notions about technology. Firstly, the theoretical setup searched for dialogues with design historians, with Mikhail Bakhtin, specially his concepts about “ideology” and “discourse’, and the theory of Field Autonomy by Pierre Bourdieu applied in the artistic practice. Following, the relation between Wollner’s own journey and the Brazilian industrial development is shown, and, at last, three of his historical texts are studied, which are written in different moments (1964; 1983; 1998), being those in which the analyzed author wished to point out the origens, events and names that are more remarkable. Throughout the work, it is pointed the importance of Wollner’s contact with the modernist european ideologies that share an abstract and rationalist matrix found at Hochschule für Gestaltung Ulm (HfG Ulm), the german design school from the city of Ulm, in the 1950s. Such modernist discourse understood the practice of design as a method with scientific character, being then different of some other more recurring artistic professional practices in some productive sectors. Wollner aimed to apply such ideals in his professional practice, being the foundation of the paulista office forminform, in 1958, one of his first expressions of such posture, and in his academic practice, helping the foundation of the Escola Superior de Desenho Industrial (ESDI), in Rio de Janeiro, in 1963. Such modernist ideals went along with moments of the Brazilian industrial development during the government of Juscelino Kubitschek (1956–1961) and the “Economical Miracle” from the military government (1968–1973). Wollner argued about the need for the development of national design as a technological and productive differential that would help the growth of national industry, based on Ulm’s project model concept. It is defended that Wollner’s professional and intelectual path, in his efforts of thinking a history of Brazilian design through the choice of pioneers in the area, was founded on an “ideal model” of design, leaving aside the modernist experiences from the 1950s. Such posture would indicate a search for validation of his own profession that was beginning to become more evident in Brazilian productive means, aiming the creation of a differential space in comparison with pre-established practices, usually link to graphic artists from the time.
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Roman, Dianne L. Ms. "Women at the Crossroads, Women at the Forefront, American Women in Letterpress Printing In the Nineteenth Century." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4595.
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The significant role of the female printer in the American home-based print shops during the colonial and early republic periods has been documented in print history, socioeconomic, labor, and women studies, yet with the industrialization of the printing trade, women’s presence is thought to have disappeared. Contrary to the belief that industrialization of the print shop eradicated women’s involvement in skilled employments such as typesetting, the creation of the Women’s Cooperative Printing Union in California and the creation and chartering of the Women’s Typographical Union in New York, both in the late 1860s, clearly indicate that women continued to work in printing. The assumption that industrialization brought with it the unionization of the trade denies the possibility of non-union shops, as well as the continuation of home-based businesses across the ever-expanding nation as it moved westward.
This research has sought to uncover and restore to history women who have been involved in the trade from the early transition of the home shop at the beginning of the 1800s to the signing of the WTU charter in 1869 by union employed compositors, as well as to identify establishments that hired female compositors. Digital newspaper databases have been used as a means of locating both women and opportunities available to them in the American printing trade between 1800 to 1869. Several women significant to this history, both those who have been found to be employed as compositors/typesetters and those who created opportunities for the employment of trained women compositors/typesetters, are discussed.
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Li, Jiyuan. "Construction Simulation of Wudian Using 3-D Graphics and Animations." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429212482.
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Bonhomme, Max. "Propagande graphique : le photomontage dans la culture visuelle de la gauche française (1925-1939)." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100089.
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Cette étude porte sur la place du photomontage dans le graphisme français de l’entre-deux-guerres, plus particulièrement dans la presse illustrée, l’affiche et la propagande politique. Fondé sur la combinaison d’éléments photographiques de façon à créer des images composites, généralement reproduites par impression photomécanique, le photomontage a été promu par les graphistes d’avant-garde mais aussi par les éditeurs de presse à grand tirage. Il devient à partir des années 1920 un élément caractéristique de la culture visuelle moderne, jusqu’à investir très largement les pavillons de l’Exposition internationale de 1937. Si les développements du photomontage en URSS et en Allemagne sont bien connus, la France a souvent été considérée comme réticente à l’usage de ce procédé, privilégiant un modernisme mesuré et un ancrage dans le dessin. En analysant le rôle des réseaux culturels communistes dans le développement du photomontage politique, nous identifions des phénomènes de transferts culturels étroitement liés à la sociabilité militante. L’étude de la production imprimée des organisations de gauche permet d’expliciter les fonctions attribuées à l’image comme moyen d’influence politique. Sur le plan iconographique, les photomontages se caractérisent par des procédés rhétoriques qui orientent la lecture du document photographique. Sur le plan du montage, s’opère une conjonction de temporalités hétérogènes. En prêtant une attention particulière à la fois aux conditions de production, aux réseaux d’acteurs et aux discours de légitimation, nous proposons un essai en iconologie politique qui en même temps se situe au plus près de la matérialité des images<br>This study examines the place of photomontage in French graphic design between the two world wars, particularly in the illustrated press, posters and political propaganda. Based on the combination of photographic elements to create composite images, generally reproduced by photomechanical printing, photomontage was promoted by avant-garde graphic designers but also by editors of large-circulation magazines. From the 1920s onwards, it became a characteristic element of modern visual culture, until it was widely used in the pavilions of the 1937 Exposition internationale in Paris. While the developments of photomontage in the USSR and Germany are well known, France was often considered to be reluctant to this technique, favouring instead a measured modernism and drawn illustrations. By analysing the role of communist cultural networks in the development of political photomontage, we identify phenomena of cultural transfer closely related to militant sociability. The study of the printed production of left-wing organisations makes it possible to clarify the functions attributed to the image as a means of political influence. On the iconographic level, photomontages are characterised by rhetorical processes which guide the reading of the photographic document. On the level of montage, they allow for a conjunction of heterogeneous temporalities in a single image. By paying attention to the conditions of production, to the networks of actors and to the discourses of legitimation, this essay in political iconology remains as close as possible to the materiality of images
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Marques, Ferreira Luis Miguel. "Artes gráficas en Portugal en el periodo de las vanguardias históricas (1909–1926)." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/146221.
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Nas décadas de 1910 e 1920, os artistas da vanguarda histórica portuguesa, inspirados pelas influências que chegavam de fora, tentaram criar uma estética que desafiava a tradição e procurava definir um novo papel da arte na sociedade. Nesse percurso, a vanguarda nacional seguiu princípios gerais comuns aos diferentes movimentos de vanguarda internacionais, tão importantes quanto os que existiam em França, Itália ou Rússia, entre outros países, e dos quais partiram relevantes ondas de influência do experimentalismo nas artes, na experimentação gráfica e tipográfica do meio impresso. Um contexto onde as revistas literárias mostraram ser o instrumento ideal pelo qual as vanguardas históricas tentaram conectar ideias e/ou práticas com audiências específicas, procurando atrair novos aderentes às suas ideologias, impor as suas ideias, inovar e expressar a sua individualidade.
Entendendo a importância do movimento de vanguarda histórica no contexto nacional como ponto de transição e de reforma cultural, tem-se como objectivo desta investigação verificar se a tentativa de ruptura da tradição sócio-cultural protagonizada pela vanguarda motivou uma ruptura dos modelos pré-estabelecidos tornando-a num caso específico e original, convergindo com as propostas artísticas-literárias, e ainda qual o legado dessa intervenção. Pretende-se, nessa averiguação, caracterizar os diferentes estilos gráficos, expressivos e tipográficos que marcavam o grafismo das publicações naquela época, conferindo possíveis analogias com os exemplos internacionais (de inovação e tradição). Quer-se, ainda, identificar os protagonistas responsáveis pela determinação e execução dos estilos gráficos/tipográficos aplicados nos artefactos impressos, assimilando o seu modus operandi.
As revistas literárias que formam o corpus deste estudo, são aquelas que apresentavam maior relevância literária na época e manifestaram uma relação – de concordância ou de oposição – com os princípios de vanguarda. O trabalho prático incide na análise gráfica de três elementos essenciais da estrutura gráfico-editorial das revistas: a capa, o índice/sumário e as páginas que definem um modelo gráfico, ou que se distingam pela sua construção macrotipográfica. Deste estudo, em conjunto com as demais investigações técnicas e históricas contidas neste ensaio, concluiu-se que, no âmbito gráfico/tipográfico, a actuação da vanguarda baseou-se nas propostas dos futuristas italianos, procurando uma ampliação dos valores semânticos dos textos literários; questionaram os modelos tradicionais e lutaram contra os modismos de carácter ornamental, apresentando algumas soluções inovadoras no contexto nacional, que escassamente ultrapassaram os limites da composição ortogonal. O seu legado abriu o espaço à construção de uma nova semântica gráfica que se manifestou com uma vocação nacionalista, que passava pelo neoacademismo e valorização do latino clássico oitocentista, testemunhando o nascimento de uma nova linguagem gráfica. Esta seria reveladora de um retorno historicista, e haveria de conduzir o Design Gráfico nacional ao caminho do internacional Modernism.<br>En las décadas de 1910 y 1920, los artistas de la vanguardia histórica portuguesa, inspirados por las influencias que llegaban de fuera, intentaron crear una estética que desafiaba la tradición y trataba de definir un nuevo papel del arte en la sociedad. En ese camino, la vanguardia nacional siguió principios generales comunes a los distintos movimientos de vanguardia internacional, tan importantes como los que existían en Francia, Italia o Rusia, entre otros países, y de los cuales partieron las ondas relevantes de influencia del experimentalismo en las artes, en la experimentación gráfica y tipográfica del medio impreso. Un contexto en el que las revistas literarias demostraron ser el instrumento idóneo mediante el cual las vanguardias históricas intentaron conectar ideas y/o prácticas con audiencias específicas, buscando atraer a nuevos adeptos a sus ideologías, imponiendo sus ideas, innovando y expresando su individualidad.
Comprendida la importancia de la vanguardia histórica en el contexto nacional como punto de transición y de reforma cultural, se tiene como objetivo en esta investigación verificar si el intento de romper con la tradición sociocultural liderada por la vanguardia condujo a una ruptura de los modelos pre-establecidos, convirtiéndola en un caso particular y original, convergiendo con las propuestas artísticas y literarias y, a su vez, con el legado de esta intervención. Se pretende, en esta investigación, caracterizar los distintos estilos gráficos, tipográficos y expresivos que marcaron el grafismo de las publicaciones en aquel momento, comparando posibles analogías con los ejemplos internacionales (de tradición e innovación). Además, el objetivo es identificar a los protagonistas responsables de la determinación y ejecución de los estilos de gráficos/tipográficos aplicados a los artefactos impresos, asimilando su modus operandi.
Las revistas literarias que forman el corpus de este estudio, son las más relevantes en el marco literario de la época y expresaban una relación –de acuerdo u oposición– con los principios de la vanguardia. El trabajo práctico se centra en el análisis gráfico de tres elementos esenciales de la estructura gráfica-editorial de las revistas: la portada, el índice/sumario y las páginas que definen un modelo gráfico, o que se puedan distinguir por su construcción macrotipográfica. De este estudio, junto con las investigaciones técnicas e históricas contenidas en este ensayo, se concluyó que, en el contexto gráfico/tipográfico, la actividad de la vanguardia se basó en las propuestas de los futuristas italianos, buscando una extensión de los valores semánticos de los textos literarios; cuestionaron los modelos tradicionales y lucharon contra las tendencias de carácter ornamental, mostrando algunas soluciones innovadoras en el contexto nacional, que apenas sobrepasaba los límites de la composición ortogonal. Su legado abrió el camino a la construcción de una nueva semántica gráfica que se manifestó con una vocación nacionalista, que pasa por el neo-academismo y la valoración del clásico latino del siglo XIX, presenciando el nacimiento de un nuevo lenguaje gráfico. Esto sería revelador de un retorno historicista y conduciría al diseño gráfico nacional por la ruta del International Modernism.
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Rangel, Alanís Luz María. "Del Arte de imprimir o la Biblia de 42 líneas: aportaciones de un estudio crítico." Doctoral thesis, Universitat de Barcelona, 2011. http://hdl.handle.net/10803/81829.
Full textAbstract:
Tomando como objeto de estudio “La Biblia de 42 líneas impresa por Johann Gutenberg” en el Bloque Uno se comprenderán los orígenes de la industria gráfica a partir de una visión histórica de la vida de Gutenberg, Fust y Schöffer.
En el Bloque Dos, se desarrolla el panorama de cómo se llega a la resolución gráfico-operativa que hizo posible la realización de los tipos móviles y su utilización en la imprenta. En la primera parte, se describen los elementos que se tenían antes de empezar la impresión; en la segunda, se analizan los elementos propios de la Biblia de 42 líneas; y en la tercera, se explica de cómo se realizó el paso hacia los tipos móviles.
En el Bloque Tres, la parte práctica se divide en dos. Describe por un lado la presentación del catálogo digital de los tipos de la Biblia llamado “ginyB42” y por el otro, el análisis de clusters para comprobar con exactitud la existencia de diversas matrices de fundición para una misma letra.<br>The object of study in the present monographic research is the 42-line Bible allegedly printed by Johannes Gutenberg, in Block One will understand the origins of the printing industry from a historical view of the life of Gutenberg, Fust and Schöffer.
In Block Two, our objective is to demonstrate that the graphic-operative solution that made possible the transition from calligraphy to movable types
In Block Three, first introduce the digital catalogue of the Bible type called "ginyB42" and then, the cluster analysis to interpret a reality by means of a verification system that has served to mark with accuracy the existence of several font matrices for a same letter.
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Bager, Freja. "Making a hybrid of Fraktur and Helvetica : Investigating typography's connection to power, from a historical perspective in a contemporary context." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76566.
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Throughout history and in today’s society, typography has been and still is without doubt a great part of communication. Behrens, an important designer from the modernist movement, believed that after architecture, typography provided “…the most characteristic picture of a period” and “…development of people”. Typography carries meaning and associations, built on the contexts and the design it is used in, that finally creates a typographic image. The Blackletter style Fraktur, and Helvetica were born to serve a purpose connected to power. Important for this research is to understand in detail, the origin of that power and its position: Blackletter portrays features of the Gothic architecture, expressing religious emotions and civic pride, intended for effective writing, and was predominant in religious and educational contexts. This improvement of writing was a necessity for the development of the society during the medieval times; for both educational and financial reasons. As Fraktur became a symbol of Germany, the today’s connotations towards oppression and Nazism were inevitable as the Third Reich continued to use it until it was banned in 1941. Meanwhile, the post war modernism in the 20th Century, sought objectivity, simplicity and readability in their design, to erase any carried meaning or associations that could have a misleading effect on the information. This period of time paved way for a corporate culture, with approaches towards rationalist and functionalist methods, that expresses authority and reliability. Achieving brand recognition for a wide range of products and contexts was required by the graphic designers. Through workshops that document people’s associations and comments on the shapes and typographic images that both Helvetica and Fraktur create, and visual research made in forms of sketching and adding Fraktur features to signs of institutions and public sectors, I have investigated Fraktur’s tainted image of oppression and political sentiments with the help of Helvetica as the contemporary norm.
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Nyström, Erika. "Typografisk makt : Hur värderas typografi?" Thesis, Konstfack, Grafisk Design & Illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6877.
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Typografi finns överallt. Det är en del av grafisk formgivning som är ramverket som vi på olika plattformar i media och i stadsbilden blir tilltalade och därigenom förstår omvärlden. Typografi påverkar i stor utsträckning hur vi tolkar ett innehåll och hur vi värderar allt från människor till åsikter. I mitt examensarbete "Typografisk makt" undersöker jag relationen mellan samhällets värderingar och typografi. Varför tar vi vissa typsnitt på allvar och andra ses som oseriösa? Jag har skrivit en essä och presenterar texten i två publikationer där jag med formgivningen vill kommentera olika sätt att förhålla sig till idéer om hur typografi bör fungera och se ut. I essän tar jag upp historiska aspekter som påverkat hur typografi värderas. Jag försöker även bena ut vilken roll egenskaper kopplade till kön har för roll i hur typografi värderas.<br>Typography is everywhere. It speaks to us and makes us understand the world. Why do we regard some typefaces as serious/professional and some as less serious? My project is an investigation of the relation between the values of society and typography.
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Fridrichová, Eva. "Vizuální řeč ovladačů a sdělovačů obráběcích strojů v Československu z let 1947-1990." Doctoral thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2017. http://www.nusl.cz/ntk/nusl-364593.
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This thesis deals with the development of graphical symbols on the control panels of machine tools made by Czech factories TOS from the years 1947–1990. The aim is description genesis graphics controllers and communicators of machine tools and their inclusion in the context of the development of graphic design. As well as determine the influence of design in area of operational graphics. This area has not yet been subjected to closer examination and in terms of consistency of the historical aspects of the Czech graphic is benefit to the future.