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Dissertations / Theses on the topic 'Graphic design (Typography)'
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Olsen, Anckers Linnea. "Typography and Typographic Classification Systems in Swedish Graphic Design Education." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130023.
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Studien syftar till att undersöka om det finns ett typografiskt klassificeringssystem som skulle kunna fungera som standard att lära ut i svensk designutbildning. Med hjälp av åsikter från aktiva inom typografi- och undervisningsbranschen värderas de mest kända systemen för att det mest lämpliga att använda som standard i svensk designutbildning därefter utses. Detta resulterade i en lätt reviderad version av det befintliga klassificeringssystemet Vox AtypI. Vidare har en del av ett utbildningsmaterial tagits fram för att ge ämnet en given plats i designutbildningen, och för att det framtagna klassificeringssystemet ska kunna läras ut på ett effektivt sätt. Med tidigare forskning och gjord pilotstudie som stöd resulterade studien i en kortlek med tillhörande häfte där regler för tre typer av spel presenteras; materialet är dock utformat för att öppna upp för egna regler och spel. Faktorer som bildminne och relationella visualiseringar visade sig vara avgörande för inlärningens effektivitet, och talet som högst väsentligt för att kunskapen ska fastna.
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Karnes, Eric. "Geologic Typography." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2132.
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In this project, I explore how the processes and structures of non-design disciplines can influence typographic form. Using the field of geology as a test case, I apply geologic processes to typographic form in order to create dimensional structures that speak to a wide audience.
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Bernhardi, Ernest F. III. "Typography: From Internal Conflict to External Content." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2100.
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This body of work represents a celebration and pursuit of realizing an alternative language, one capable of expressing internal conflict through process and response to external typographic form and content.
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Alfalah, Sarah. "Arabic Typography Play." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3073.
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I believe that spoken and written languages are verbal and visual expressions of cultures. Language is used to convey and sustain values and the belief system of people. Arabic is a language of complexity and formal beauty that is being disregarded and pushed away by its own native speakers. It is losing its value in the Arab world. In other words it is dying. Both the written and spoken language is being affected. As the world is interchanging, integrating, and becoming closer, there has been a strong impact on many societies, threatening their original culture. Arab cultures are abandoning the rich tradition of the Arabic language to universalize communication. My thesis investigates the relationships between typography as both a visual form of language and play as a mechanism to help children become more familiar and intimate with their native language.
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DiGioia, Joseph A. "The "new" new typography? : a critical view of the state of typography /." Online version of thesis, 1995. http://hdl.handle.net/1850/12187.
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Specht, Heidi. "Legibility how precedents established in print impact on-screen and dynamic typography /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1426.
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Thesis (M.F.A.)--West Virginia University, 2000.Title from document title page. Document formatted into pages; contains iv, 25 p. : ill. (some col.) Includes abstract. Includes bibliographical references (p. 23-25).
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Fellows, Kara S. Gratama Ab. "Typecast the voice of typography /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/357.
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Jones, Sarah. "Graphic intervention interrogating newspaper design as a site of social construction /." Swinburne Research Bank, 2009. http://hdl.handle.net/1959.3/55170.
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Thesis (MDes) - National School of Design, Swinburne University of Technology, 2009.A thesis submitted in fulfillment of the requirements for the degree of Masters of Design by Research, [Swinburne University of Technology], 2009. Typescript. Bibliography: p. [89]-91.
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Kurovska, D. V. "International typography style." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/14373.
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Montgomery, James Alexander Ian. "Do real relationships exist between product design and typography?" Thesis, University of Ulster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310107.
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Ford, Ann. "Typography As Performance: bringing the stage into the design process." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1590.
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Graphic design is historically a visual language consisting of text and image composed for the purposes of sending messages in print format. The voice of graphic design is typography—structuring and arranging letter forms into visual language. Over the past two decades, new communication formats such as motion and interaction have frequently been related to performance. My intention, however, is to explore how performance can influence typography in two and three dimensions, and even in digital environments.
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Muir, Margot. "Beyond commercial design: a critique of design and graphic design writings in Emigre and Dot Dot Dot magazines." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/12436.
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Graphic design faces the contradictions of commercial intent and social relevance. This study explores the contribution of criticism, in two independent, seminal graphic design magazines, towards shifting the dominant preferences of graphic design from a purely commercial pursuit to a human-centred practice. Emigre magazine (c.1984 - 2005) and Dot Dot Dot magazine (c.2000 - 2010) are recognised for their critical intent and within them are emerging critical issues that suggest a potential niche for graphic design beyond consumerism and commerce. In the discipline of graphic design, designers define what it is to be human (and thus equally the realities of dehumanisation) in very particular ways (Rose, 2001:135; Freire, 1993:43). Graphic design has a history of commercial practice. This commercial history continues to define its identity and reinforce a particular body of knowledge. Graphic design criticism, however, is an inventive voice that has the potential to contribute to change. Both Emigre and Dot Dot Dot were representative of a “constructive marginality” (Bennett, 1993:64), drawing from their own set of references and awareness of graphic design’s potential to inform their identities, instead of looking to established definitions of practice to do so. This analysis explores how they anticipated a modern conception of graphic design that has become part of a recently adopted (2015) and more widely embedded discourse. This discourse involves critical design that interrogates multiculturalism, interdisciplinarity, environmental sustainability, social and political agency, and speculative futures. Graphic design engages social institutions and practices that denote social constructions of difference and inequality, and is never neutral. Any work, any representation of ideology, is at once individual and discursive at the level of social, cultural and political formations. The critical issues evident in Emigre and Dot Dot Dot, with the exception of an absence of speculative futures, anticipate a more humanising perspective in graphic design. They invite critique and the potential for change that is relevant to the surrounding world, as a counter to commercial self-interest.
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Zelman, Stephanie. "Letterforms, cultural forms : the interplay between graphic design, western culture and communications technologies since mid-century." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30232.
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Beginning with an understanding of the aesthetic and idealism of modern design, this thesis discusses the interrelationship between culture, technology and graphic design since mid-century. A review of the rise of postmodern critique, particularly as expressed through digital technologies, demonstrates how cultural shifts and developing communications technologies work in tandem to influence the emergence of visual systems. By revealing several underlying premises of modernity, it is shown that the linearity of modern design is a biased and limited theory of vision. This argument is reinforced by contrasting the modern conception of direct communication with alternative design practices that encourage readers to play a more active role in the interpretation of a message. However, the thesis ultimately returns to the fundamental principles of modernism to suggest that certain tenets of modernist thought should not be jettisoned so quickly, simply because digitization encourages open-ended viewing experiences.
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Menon, Sanjiv. "Interface impressions typographical impressions of early contact between Maori and Pakeha : this exegesis is submitted to Auckland University of Technology for the degree of Bachelor of Art & Design (Honours), October 2008 /." Abstract. Full exegesis, 2008.
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Exegesis (BA--Art and Design) -- AUT University, 2008.Disk contains images of artwork. Includes bibliographical references. Also held in print (xvi, 19 leaves : ill. ; 25 cm + 1 CD-ROM (4/3/4 in.)) in City Campus Theses Collection (T 686.224 MEN)
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Falla, Dominique Tania. "Tactile Typography in the New Aesthetic." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365246.
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Modern design communication fails to engage our tactile senses. In an age where the majority of messages are delivered digitally, this preferences our eyes and ears over the remaining senses and as a result, the touch or ‘tactile’ senses are being neglected. Imagine a child born into a digital world where they no longer get to touch the ‘real thing’. What happens to us when there is no longer a stored memory of textures?
As a child, touching rough, smooth and a variety of different textures to discover what they ‘feel’ like is essential to developing an understanding of our world (Elgin 1997). Since the introduction of digital technology into our everyday lives however, the computer mouse, keyboards, trackpads, and touch screens are fast becoming the main textures we spend our day touching (Bergmann 2010).
If we as graphic communicators ignore the tactile, we are missing out on delivering some valuable sensory information by neglecting touch in the communication equation. My studio research seeks to discover if engaging with touch and re-imagining the digital aesthetic as analogue ‘one-offs’ are effective ways for graphic designers to reinvigorate their creativity and enrich visual communication within the digital landscape.
The desktop computer has ultimately been responsible for a wealth of changes to the graphic design landscape. Typography as an art form, is also undergoing reinvention as a result of the digital revolution, but type usage is still embedded within graphic design as a primary tool of communication. Typography as an art, if it is to be preserved, must have a clear and renewed focus as a visual art form.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Lu, Yiyi. "ChaScript : a Chinese interactive typographic drawing application /." Online version of thesis, 2009. http://hdl.handle.net/1850/11984.
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Kenna, Hilary. "A practice-led study of design principles for screen typography : with reference to the teachings of Emil Ruder." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6051/.
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This research proposes that traditional typographic knowledge does not sufficiently address the design aspects specific to screen typography such as 3D space, motion, time, sound and interactivity, and that traditional design principles require adaptation and expansion for screen. This practice-led study presents a broad critical review of the emergent field of screen typography spanning screen media technologies, traditional typographic knowledge and contemporary practice. Its findings contribute a definition of the field of practice including an overview of the history, origins and properties of screen typography, a classification of practice areas, and key practical principles used in related screen-native disciplines such as film-making, animation and human computer interaction design. Due to the rapidly changing technological environment of the screen, obsolescence is a key concern for this research and highlights the need for sustainable typographic design methodologies not aligned to specific technology. In this context, and following a literature review of traditional design principles, the work of Emil Ruder (1914-‐1970), a Swiss modernist typographer was identified as distinguishable in the field and particularly relevant to screen typography because of his holistic design approach underpinned by conceptual principles and systematic practical methods. This thesis provides a detailed analysis of Ruder’s methods set out in his book Typographie: a manual for design (1967) and uses the findings to develop an experimental practice methodology for screen typography. The developed methodology sets out a matrix of the constituent parts of typographic design practice that include: typographic elements, typographic properties, and design principles, which can be combined to create practical exercises in screen typography. The practice matrix was evaluated through peer review, then tested and applied in practice to the design of a series of experimental practical samples and online repository type4screen, and to an iPad app of T.S. Eliot’s 1922 poem, The Waste Land.
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Lee, Dong Hyun. "Effective use of negative space in graphic design /." Online version of thesis, 2007. http://hdl.handle.net/1850/4625.
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CoÌrdoba, Patricia. "Typography and graphic design in Spain : from gothic revival to avant-garde." Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430841.
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Wang, Shyang-Yuh S. "Identification of the significant competencies in graphic design." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4332.
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Thesis (Ph. D.) University of Missouri-Columbia, 2006.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 9, 2007) Vita. Includes bibliographical references.
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Dhawi, Fahad A. "Redesigning Arabic learning books : an exploration of the role of graphic communication and typography as visual pedagogic tools in Arabic-Latin bilingual design." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13472/.
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What are ‘educational typefaces’ and why are they needed today? Do Arabic beginners need special typefaces that can simplify learning further? If so, what features should they have? Research findings on the complexity of learning Arabic confirm that the majority of language textbooks and pedagogic materials lead to challenging learning environments due to the poor quality of book design, text-heavy content and the restricted amount of visuals used. The complexity of the data and insufficient design quality of the learning materials reviewed in this practice-based research demand serious thought toward simplification, involving experts in the fields of graphic communication, learning and typeface design. The study offers solutions to some of the problems that arise in the course of designing language-learning books by reviewing selected English learning and information design books and methods of guidance for developing uniform learning material for basic Arabic. Key findings from this study confirm the significant role of Arabic designers and educators in the production of efficient and effective learning materials. Their role involves working closely with Arabic instructors, mastering good language skills and being aware of the knowledge available. Also, selecting legible typefaces with distinct design characteristics to help fulfil various objectives of the learning unit. This study raises awareness of the need for typefaces that can attract people to learn Arabic more easily within a globalized world. The absence of such typefaces led to the exploration of simplified twentieth-century Arabic typefaces that share a similar idea of facilitating reading and writing, and resolving script and language complexity issues. This study traces their historical context and studies their functional, technical and aesthetic features to incorporate their thinking and reassign them as learning tools within the right context. The final outcome is the construction of an experimental bilingual Arabic-English language book series for Arab and non-Arab adult beginners. The learning tools used to create the book series were tested through workshops in Kuwait and London to measure their level of simplification and accessibility. They have confirmed both accessibility and incompatibility within different areas of the learning material of the books and helped improve the final outcome of the practice. The tools have established the significant role of educational typefaces, bilingual and graphic communication within visual Arabic learning.
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Fan, Feifei. "In Pursuit of Harmony: Calligraphy & Typography." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1786.
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Chinese calligraphy and Western typography have been evolving for around five thousands years. During this time, they have developed quite different characteristics. Compared with the geometrical form and precision of Western printing types, Chinese calligraphy features abstract shapes and spontaneous strokes. These differences result in a gap that prevents a harmonious and organic relationship between them. This project explores the possibilities of combining these two historical visual systems, demonstrates specific methods and approaches for creating compelling formal relationships, and endeavors to establish a friendly, organic and harmonious dialogue between Chinese calligraphy and Western typography. The outcome of this project is a handmade book and a series of posters. The content of them comes from the writings of Lao-Tzu.
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Houston, Sarah L. "Douglas Coupland text as art /." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04172008-214133/.
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Thesis (M.A.)--Georgia State University, 2008.Title from file title page. Susan Richmond, committee chair; Maria Gindhart , Glenn Gunhouse, committee members. Electronic text (102 p. : col. ill.) : digital, PDF file. Description based on contents viewed July 24, 2008. Includes bibliographical references (p. 100-102).
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Gaydos, Benjamin. "[ethno]graphic design." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/98.
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Visual communication is a part of everyone's daily existence. It is a ubiquitous mode that shapes not only the environment that individuals inhabit, but the very identity of the individual. Graphic designers, who create the vast majority of the visual communication encountered, play a crucial role in the production of cultural identity. It is a necessity that designers understand that role, as agents of cultural production.[ethno]graphic design is an ever-evolving approach to graphic design which utilizes anthropological methods in the creative process. This document presents a collection of projects which take an anthropological approach to the design process, utilizing techniques developed by cultural anthropologists to aid the design process primarily ethnographic fieldwork, participant observation, collaboration, multivocal representation and reflexivity.
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Mastoridis, Klimis. "Casting the Greek newspaper : a study of the morphology of the ephemeris from its origins until the introduction of mechanical setting." Thesis, University of Reading, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361424.
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Vandevort, Jeanine M. "Graphic print in selected elementary social studies textbooks /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3276954.
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Thesis (Ph. D.)--University of Nevada, Reno, 2007."May, 2007." Includes bibliographical references (leaves 219-254). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2007]. 1 microfilm reel ; 35 mm.
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Smith, Warren Eden. "Type from type." AUT University, 2010. http://hdl.handle.net/10292/980.
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The locus of this project is in the field of type face design, with the origins of the project based on an appreciation of the Letraset brand1 dry transfer system (instant lettering and other elements included in the system) and the way they were used and/or mis-used. The project investigates the autographic ‘craft’ nature of the use of Letraset, the fact that if used carelessly it could create accidental applications and that these accidental applications could lead to serendipitous effects. The project explains how reflection on these effects led in turn to some users of Letraset devising their own unconventional techniques for its use and it proposes that it is possible to replicate some of these effects and to use them as the inspiration for new type face concepts. It further proposes that it is possible to use Letraset elements (rules, dots and squares for example) in ways other than originally intended as the raw material of the basic structure of new type face designs. The methodology used in the project combines narrative inquiry, self inquiry and the generation of ideas through creative reflection and the use of ‘tacit knowledge’.
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Heintzelman, Brooks M. "The Day is Just Another Surface." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5879.
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Within a practice founded on both typographic form and language, I have continued to push myself to make work that is more sensitive to place, more contextual, more (hopefully) generous toward a public audience. These pieces might serve as useful instruments of institutional critique, resources for comprehension, or moments in which to interrogate preconceived modes of seeing. I deploy original texts in public spaces in order that they might force viewers to decide how to personally resolve the content they encounter. Is it language or object? Literal or figurative? Graphic design or art? The further I develop this body of work, the less interested I am in providing answers to those questions. The questions themselves are enough.
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Zhou, Juannan. "Marks of Design/." Baltimore, MD : University of Baltimore, 2008. http://www.marks-of-design.com.
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Birand, Can. "Self-reference Through White Space in Graphic Design." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1577.
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In the graphic design, successful use of white space provides the designed object with a strong reference to its material quality and internal structure. Showing the paper breaks the wall between the design and the viewer, and gives the audience a better understanding of the construction of graphic design. White space is devoid representation, which leads the work to become completely honest about its materiality. This project explores different methods and processes for creating aesthetic/conceptual integrity in graphic design by using white space as a primary device.
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Brown, Arthur T. "Points of Contention: Oddities, Delicacies, & Monstrosities." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2440.
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Points of Contention, an MFA exhibit, features fifteen works of relief-printed images from carved linoleum and layers of type printed with antique letterpress wood type. The work constitutes a visual exploration of dissatisfaction and disenchantment presented through the context of odd stories in the news and major current events, such as election politics and the closing of Hostess bakeries, as well as, NSA data collection and gun violence.
This supporting thesis explores the conceptual and physical processes of creating the pieces, including researching other artists who have wrestled with similar topics and produced their own unique reaction and resolution through art. The paper also discusses the technical and mechanical side of the artistic process, especially the anachronistic attraction to the methods of letterpress and printmaking in a digital age. Finally, this thesis chronicles the artist’s sources of inspiration from cartoon monsters and brand mascots during childhood to letterpress printmaking.
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Borgstrom, Liam. "Between a book and a soft place : an investigation into the contemporary teaching of typography and book design at South African Higher Education Institutions." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/59323.
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This dissertation addresses the teaching of typography and book design in South Africa and how the literature relating to its education has changed during the course of the twentieth century. Several scholarly and educational book titles are compared to one another based on their approach to the subject and this is compared to the historical development of typographic technologies as they were developed in Europe. Based on the theoretical pool of the assessed books, a list of theoretical topics was drawn up and used to survey the current teaching intent of graphic design study programmes at South African tertiary education institutions.
It was found that in spite of a less direct technical focus in the teaching and learning materials, training institutions within departments and faculties of arts have developed their graphic design programmes with the intent of developing students who are technologically proficient, readily employable, artistically fluent, and aware of industrial and historical conventions in their fields. However, they do not necessarily teach historical book design conventions, focussing rather on the skills and software required for contemporary design practice.Dissertation(MIS)--University of Pretoria, 2016.
Information Science
MIS
Unrestricted
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Ucci, Allison. "American Sign Language : an influence on graphic design problem-solving /." Online version of thesis, 2008. http://hdl.handle.net/1850/6274.
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Jordan, Jessica. "Designing for digital : skill sets needed to design for variable data /." Online version of thesis, 2009. http://hdl.handle.net/1850/10895.
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Savic, Maja. "The Secret Life of Things." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etd/1124.
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The artist discusses the work presented in The Secret Life of Things, her Master of Fine Arts exhibition held at Slocumb Galleries, East Tennessee State University, from March 18th through 22nd, 2013. The exhibition consists of sixteen illustrations (four of these are digitally enhanced photographs) and one animation that show the artist’s interest in bringing household objects to life. Pieces in the exhibition can be characterized as humorous with a strong narrative and attention to details. Savić’s ideas are based on traditional education with contemporary influences. All printed work is twenty inches wide, sixteen inches tall, framed, and hung in one side of the gallery. The other side was reserved for an animated artist statement projected onto the gallery walls.
This thesis discusses the most important influences and doctrines about art that support and further explain the presented work.
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Jenkins, Kerry Scott. "Gaining Attention and Encouraging a Response: My Criteria for Successful Graphic Design." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2068.
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As a graphic designer, my goal is to clearly express my clients' message to their intended audience. Based on the diversity of my clients and their products and services, finding a consistent style in my projects might be difficult, although there are usually some typical traits. With examples of my work and dialogue from leaders in the graphic design industry, I intend to point out a common thread that runs through all successful design projects, regardless of the projects' designer, era, or individual design elements (e.g., typography, copywriting, color, layout, imagery). Success comes from graphic design's ability to gain attention and encourage a response.
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George-Palilonis, Jennifer. "Bridging the gap between visual rhetoric and newspaper graphic design : a case study." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1293515.
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A gap exists between the fields of visual rhetoric and newspaper graphic design caused by three factors: the historic division between words as communication tools and design as artistic effect, the relative youth of visual rhetoric, and the recent evolution of newspaper design as a visual language. This thesis establishes one bridge between visual rhetoric and newspaper graphic design by defining the rhetorical function of newspaper graphic design. Using case study methodology, this report focuses on the rhetorical role of newspaper design in an attempt to further understand how people extract meaning from the newspapers they read. By engaging readers with various newspaper pages and requiring them to comment on their direct interaction with the content, this research illuminates the role of newspapers' visual elements by exploring the following questions: What role do visual elements (i.e. pictures, graphics, color) play in a newspaper reader's meaning making processes? How do page layout and the presentation of story packages affect a reader's understanding and opinions of the information at hand?Department of English
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Zhang, Mengfu. "Design By Accident." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1902.
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Accident is a metaphor for life. From an arbitrary point in time, we potentially preview the entirety of existence. There is a Chinese idiom called “ blessing or bane,” which implies that a misfortune may perhaps soon turn into a blessing. Focusing on accident as a design method implies making the best out of a bad situation. An accident reveals invisible circumstances and potentialities in the world, both familiar and unfamiliar. Looking into the unpredictable world, I can begin to release my control, take a breath, and see what might happen if I do not fight the situation. I am able to get out of my own way, and see what the work’s destiny will be. This sets up a context in which there are no faults, no mistakes, and no accidents — everything may contribute to a solution.
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Schuster, Jonathan G. "The influence of reader's goals on organizational signals in text comprehension." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1347735.
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This study researched the question as to whether reading goals and organizational signals interact to affect comprehension. Organizational signals are literary instruments that make the topic structure more salient and increase the recall for the majority of the topics in a text. Readers have specific goals that they wish to accomplish during reading. Participants read one of two texts, which contained one of three levels of signals: no signals, half signals, and full signals. The participants were assigned a specific goal from one of two main categories of goals: reading for school or reading for pleasure. Significant Text and Goal differences were found, but there was no effect of headings. Participants with the school goal recalled more than did the participants with the pleasure goal. It appears that reading goals do have an effect on the processing characteristics that people use while reading, which affects the amount recalled.Department of Psychological Science
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Foley, Marius. "High fidelity image tracing the emergence of a new constructed image /." Access electronically, 2004. http://ro.uow.edu.au/theses/285.
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Naufel, Carina da Rocha. "A capa convida : o design gráfico de Marius Lauritzen Bern para a editora Civilização Brasileira." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284565.
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Orientadores: Edson do Prado Pfutzenreuter, Ann Paula Silva GouveiaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: As capas de livros analisadas nesta pesquisa foram criadas por Marius Lauritzen Bern para a editora Civilização Brasileira na década de 60 no Brasil. Marius Bern foi um designer brasileiro autodidata que iniciou sua carreira através das artes plásticas durante um período em que não havia a formalização do ensino de design no Brasil. Sua parceria com a editora Civilização Brasileira foi estabelecida através do editor Ênio Silveira no ano de 1965, após a saída do designer Eugênio Hirsch. No período de 1965 a 1970, Marius Bern permaneceu como principal designer da editora Civilização Brasileira. A Editora Civilização Brasileira pertencia ao editor Ênio Silveira, intelectual reconhecido no campo cultural brasileiro e importante na resistência contra a ditadura no Brasil. Ênio Silveira foi o grande incentivador das mudanças no design dos livros da editora. Em 1960 houve uma ruptura das convenções gráficas na cultura editorial e, portanto no mercado de livros no Brasil. Circunstâncias específicas relativas ao exercício da atividade no período em questão, como o modo de criação e o processo de produção disponível então, foram abordados de modo a auxiliarem no entendimento do discurso gráfico das capas. Através da análise foi possível identificar algumas soluções visuais recorrentes na produção de capas de Marius Bern, o que permite algumas conclusões sobre sua produção
Abstract: This research focuses on analyzing Marius Lauritzen Bern's book cover production for Civilização Brasileira, during the 1960s. Marius was a self-taught designer who began his career in visual arts, in a time when the teaching of Design had still not been formalized in Brazil. Marius Bern began his partnership with the publishing Civilização Brasileira in 1965, through its visionary publisher Ênio Silveira. He joined them right after designer Eugênio Hirsch had left the company, and from 1965 to 1970 he stood as its chief designer. Ênio - owner of Civilização Brasileira - was considered an important Brazilian intellectual in the national cultural field and also an important figure in the fight against the military dictatorship. He was also the staunchest supporter of the changes adopted by the company in its book designs. The 1960s mark a twist in the graphic conventions adopted by the publishing culture and, therefore, in the Brazilian book market. Specific circumstances related to the practice of the profession, such as the ways in which book covers were created and the production processes that were available at the time, were addressed to ensure a better understanding of the graphic speech of the covers. Through the analysis it was possible to identify some recurrent visual solutions in Marius' book designs, which allow us to draw some conclusions regarding his work
Mestrado
Artes Visuais
Mestra em Artes
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Park, Hyejin. "A Sense of Place: A Personal Exploration, Analysis and Re-interpretation of Diverse Places." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1929.
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Every city/place has unique, distinctive qualities. Individuals acquire a sense of place in accordance with their own experiences and perspectives, which may not be the same as the experiences and viewpoints of another person. In this project, I explore, analyze, and re-interpret three places that have creatively and emotionally influenced me and remained in my memory: Times Square, New York City; Insadong, Seoul, South Korea; and Broad Street, Richmond, Virginia. To comprehend and draw a sense of place, I observe, feel, and document the characteristics of each place through different methods and processes, based on my own experiences. In addition, I integrate, apply, and transform my experiences and emotional reaction to the objects, obtained from each place, into new visual form to grasp how the built environment can be used as inspiration and stimulus in developing creative methods and processes in graphic design.
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Jordan, Anne. "Material Meaning." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2789.
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The synthesis of old and new, analog and digital, and hand- and computer-based methods provides designers with an opportunity to work beyond the constraints of the computer and take advantage of the aesthetic effects that actual materials bring to visual communication. Designers who choose to actively participate in their process – bringing the aesthetic effects of working materially into the realm of the digital – will likely learn to reject an approach that relies too heavily on passive digital tools. Active participation in the design process can extend our creative vocabulary and humanize visual communication.
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Rupp, Ben. "Typographic and image explorations." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5023.
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These typographic and image based designs explore multiple components of design including: legibility, manipulation, communication, and conventionalism with an emphasis on information graphics. Drawing from influences of the Futurist designers and Dadaist typography, I take the mundane details of an object such as a baseball or car to create excessive amounts of visually stimulating graphics. Through this process of gathering detailed information, I take photographs, draw by hand and scan images to fully understand and portray an objects identity until I feel satisfied that the objects visual potential has been exhausted. These personal expressions are combined to form printed material and book designs. These works explore the experimental use of type and image montage to break the rules of graphic design while keeping some of the traditional aesthetics associated with this discipline. My love for detailed subject matter may be seen in my books, The Baseball and 1 (One) which include subject matter from my childhood interests such as rare 1/1 baseball cards.ID: 029810236; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 25).
M.F.A.
Masters
Visual Art and Design
Arts and Humanities
Studio Art and the Computer
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Stensholt, Håkon Meyer. "Sound Meets Type : Exploring the form generating qualities of sound as input for a new typography." Thesis, Konstfack, Grafisk Design & Illustration, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4761.
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How can you create new letterforms using sound as input? In Sound meets Type, have I studied the form generating qualities of sound as input for a new typography. Through history the technological development has provoked new approaches to type design, which in turn has evolved letterforms. By using generative systems to search for letterforms in a contemporary and technological context, I have created a customized software that uses the data inherent in sound as a form generator for possible new letterforms. The software is developed by using a language called Javascript. The thesis consist of a written part and a creative part. The creative part is documented within this thesis.
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Weilein, Lucia. "Transforming Narratives." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3079.
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Narrative, often considered synonymous with “story,” can be viewed from a structuralist perspective and analyzed independent of any particular content. Breaking narrative into categories of story and discourse, this autonomous structure makes possible a translation of content from one form to another. The various media and form types common in graphic design can serve as both recipient and translator of narratives, converting content into a framework that includes the concept of craftsmanship, aesthetic components and specifications, legibility and composition, and the physical form of the designed object. To examine how this framework functions in practice, I have developed a series of three volumes in which cinematic tropes are represented in book form based on a morphology of traits.
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Gautier, Charles. "La graphie, l'image et le politique." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCB158.
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On l'oublie parfois mais l'écriture a une double identité : linguistique et iconique ; et si « le voir précède le mot », comme le pense l'écrivain John Berger, elle est même d'abord graphie. Seulement cette graphie, l'habitude, l'accoutumance, nous l'a rendue transparente, invisible. On lit sans regarder les lettres, ni même les mots. Et l'écriture se dissout dans l'écrit, disparaissant au profit de la pensée ou du son, et condamnant ainsi « l'image de l'écrit » à l'oubli. Qui se préoccupe, dans les pays de langue et d'écriture latine, à l'aspect visuel des lettres ? Quelques chercheurs, artistes, graphistes et typographes, ce qui est fort peu en comparaison d'autres cultures notamment en Asie ou au Moyen-Orient. Cette subordination du dessin s'est accompagnée d'un impensé de la forme. Jacques Derrida l'a montré, la philosophie n'a jamais considérée l'écriture comme un objet d'étude digne d'intérêt mais plutôt comme un « outil imparfait » et une « technique dangereuse », un médium qui viendrait « contaminer la langue ». « L'écriture, la lettre, l'inscription, écrivait-il dans De la grammatologie, ont toujours été considérées par la tradition occidentale comme le corps et la matière extérieure à l'esprit, au souffle, au verbe, au logos. » De même, les sciences humaines ont un rapport toujours conflictuel au langage dès lors qu'il n'est pas oral. En dépit des travaux sur l'écriture de chercheurs comme Jack Goody, David Olson, Roy Harris ou Anne-Marie Christin, on estime encore souvent que la graphie n'est pas un sujet sérieux. La publication en 1916 du Cours de linguistique générale n'y est pas étrangère. Rédigé par deux étudiants suisses d'après leurs notes prises lors des cours de leur professeur Ferdinand de Saussure, on peut y lire une forme de dévaluation de l'écriture. Le « signifiant graphique » y est considéré comme un médium secondaire dont l'unique raison d'être est de représenter la langue. Ainsi, les décennies suivantes mettent à l'honneur l'aspect phonétique du langage et, comme le note l'atypique chercheur Joseph Vachek, on tient l'écriture pour un « simple voile recouvrant la configuration réelle d'une langue ». Mais la graphie est-elle seulement un habit pour la pensée ? Est-elle aussi objective et neutre que certains le pensent ou le souhaitent ? Il ne faut pas oublier que le rejet apparent de Ferdinand de Saussure à l'égard de l'écriture est essentiellement circonstanciel. La séparation qu'il opère à l'époque entre la langue parlée et l'écriture détermine et conditionne l'autonomie de la linguistique comme science. La question pourrait être abordée d'un point de vue esthétique, linguistique ou encore anthropologique. Ici, nous souhaitons interroger ses dimensions sociales et politiques. Les liens entre la parole et le politique ont été décrits par Victor Klemperer, par Roland Barthes, par Pierre Bourdieu et d'autres encore. Le pouvoir de l'écrit a fait pareillement l'objet d'une littérature abondante. Qu'en est-il de la graphie ? Est-elle un fait social total ? A-t-elle un pouvoir symbolique ou performatif ? Un pouvoir d'unification ou d'exclusion ? A-t-elle été instrumentalisé par des mouvances diverses ? A-t-elle servis, au 20e siècle, comme la langue, une idéologie, une utopie, un projet politique ? Quel est son rapport à l'histoire et aux contextes politiques ? Que disent les formes graphiques produites sur les modes de vie, les usages et les pratiques d'une société ?We sometimes forget that writing has a dual identity, both linguistic and iconic, and while "seeing precedes words", as the writer John Berger said, it is nonetheless initially a written form. Habit and custom, however, have made this written form transparent, invisible. We read without looking at the letters or words. Writing disappears in the written word, in favour of thought and sound, thus condemning "the image of writing" to oblivion. In countries with Latin-based languages and script, virtually no-one pays any attention to the visual aspect of letters "just a few researchers, artists, graphic designers and typographers" unlike in other cultures, notably in Asia and the Middle East. This subordination of drawing goes hand in hand with an absence of thought given to form. As Jacques Derrida illustrated, philosophy has never considered writing as a worthy subject for study but rather as an "imperfect tool" and a "dangerous technique", or a medium that "contaminates language". As he explains in Of Grammatology, "Writing, the letter, the sensible inscription, has always been considered by Western tradition as the body and matter external to the spirit, to breath, to speech, and to the logos." Similarly, the human sciences have always had a conflicting relationship with language when not spoken. Despite works on writing by Jack Goody, David Olson, Roy Harris and Anne-Marie Christin, the written word still frequently fails to be taken seriously. This was already the case in Cours de linguistique générale (Course in general linguistics) published in 1916 by two Swiss students based on their course notes from Professor Ferdinand de Saussure classes, in which writing was already denigrated. It considers the "graphic signifier" as a secondary medium that only exists in order to represent language. Throughout the following decades, therefore, the phonetic aspect of language was given precedence, relegating writing to what the scholar Joseph Vachek expressed as "a simple veil covering a language's true appearance". But is the written word merely clothing for thought' Is it as objective and neutral as some would like it to be or indeed think it is? It must not be forgotten that Ferdinand de Saussure's apparent rejection of writing is largely circumstantial. The separation he made at that time between the spoken language and writing determined and conditioned the autonomy of linguistics as a science. This question has been examined from several viewpoints, namely aesthetic, linguistic and anthropological. Here, however, we have chosen to look at its social and political aspects. Links between words and politics have been written about by Victor Klemperer, Roland Barthes, Pierre Bourdieu and others. The power of writing has also been the subject of many publications. But what about the written word itself: is it a "total social fact", and has it been used by various movements? Did it serve an ideology, utopia or political project in the same way as language had during the 20th century? What is its relationship with history and political contexts? What do graphic forms tell us about a society's lifestyles, uses and practices?
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Pereira, Catarina Castro Lopes Torrinha. "Design gráfico alternativo." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2013. http://hdl.handle.net/10400.5/12010.
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Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de ArquitecturaNas últimas três décadas, o design gráfico tem sofrido grandes. As sucessivas gerações e as suas necessidades inerentes alteraram-se, e a constante exigência em que vivemos é reflectida nas nossas acções e na maneira como trabalhamos. A forma de comunicar tem sido alterada ao longo do tempo cronológico, assim como a localização, a informação e os comportamentos. Deste modo, é importante referir que, também no design gráfico, existem desenvolvimentos. É notória a diferença entre a maneira de comunicar nos anos 20 do século XX e aquela feita nos anos 70, 80 e 90. É através destas mudanças no design gráfico que empreendemos o nosso estudo, avaliando as regras exigidas por uns e o incumprimento dessas regras por outros. Dependendo do tempo cronológico, iremos avaliar o porquê da rigidez formal de certos designers e a falta dessa rigidez por outros, o que acaba por suscitar o interesse em questionar quais os seus métodos, intenções e directrizes. A nossa dissertação tem como objectivo principal criar um roteiro, onde se experimenta a não inclusão de todas as regras, instituídas e ensinadas, através duma abordagem diferente que culmina na realização de um projecto gráfico. Esse projecto é um roteiro que compila tascas tipicamente portuguesas na cidade de Lisboa. Trata-se de um projecto bilingue (português e inglês) para atingir o público jovem escolhido: jovens estudantes portugueses e estrangeiros com idades compreendidas entre 18 e 26 anos. O objectivo é mostrar ao leitor que é possível comunicar de um modo mais visual sem as manchas de texto típicas dos guias de restauração. Assim, coe isolado um conjunto de abordagens feitas por vários designers gráficos pós-modernistas, para compreender a fase de execução do processo criativo. Do design gráfico modernista, recolhem-se as regras estruturais e as suas características, para comparação com o design gráfico pós-modernista, que rompe com todas as suas regras, criando outro caminho para o design gráfico. Espera-se que a compilação final suscite no leitor a vontade e o interesse em partilhar a mesma experiência, e assim apelar a uma interacção e participação com o objecto e o local. A nossa dissertação incidirá sobre uma metodologia mista, recaindo na investigação teórica e também no trabalho prático.
ABSTRACT: In the last three decades, graphic design has undergone major changes. Generations and their inherent needs have changed, and we live in constant demand, that reflect in our actions and the way we work. The way to communicate over time has changed, and so have the location, information and our behaviours. Thus, it is important to notice that also in graphic design there are evolutions. The way to communicate in the twenties is very different from the communication made in the seventies, eighties and nineties, and it is through this theme – design evolution – that we will start our project, evaluating the rules required by some, and their breach by others. Depending on the chronological time, we will evaluate the rigidity of certain designers and the lack of it by others. In this case, it is interesting to question about what their methods are, intentions and guidelines. Our dissertation aims to create an itinerary, where we will break all the rules that are instituted in our academic journey, through a different approach to a compilation of typical Portuguese taverns. The body of the project will contain a list several restaurants with a short description of it, location and accessibility. A bilingual draft (Portuguese and English) to reach chosen audience: Portuguese and foreign young students between the ages of 18 and 26. We want to show the reader that one can communicate through a more visual way without large patches of typical texts we usually see in restaurant guides, because, at the end of the day, what really matters when choosing a product are the aspects concerning the location, the price and the overall experience. One of the goals of this study is to isolate a set of approaches made by various designers of the post-modernist/alternative graphic design, to understand the phase implementation of the creative process. In Modernist graphic design, we evaluate the structural rules and characteristics, comparing it with the later post-modernist graphic design, which breaks all the rules by creating a different approach for graphic design. With this project, we want to create in the reader a desire and commitment to share their experiences and thus appeal to a participation and interaction with the object and location.
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Yoo, Sirah. "Ineffable: Latency in Symbolic Languages." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4814.
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The design process demands comprehensive knowledge of visual signs and symbols with a focus on visual literacy; it is related to visual syntax, semantics, and the pragmatics of contexts. My work is an interdisciplinary investigation into how designers integrate polysemantic signs into their design process for particular and highly individualized audiences. By analyzing the role of signs in specific contexts across the spectrum of arts, society, literature, and semiotics, a designer's understanding of the cyclical nature of interpretation and reinterpretation in complex environments creates an avenue for cultivating a new schema that provides further levels of interpretations and different access points. By removing elements from their original context, and fusing these elements into new narratives, we implement new meanings and emphasize the value of interpretation.
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Moody, Jennifer S. "Texts in motion : an exploration in design cinema." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1318620.
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The objective of this creative project was the exploration of the new genre of Design Cinema, specifically to use typography and motion graphics to tell a story. Design Cinema is best defined as a hybrid form of moving image that falls between motion graphics and filmmaking. The secondary objective was to design and create three significant pieces of work in Design Cinema, which focuses on utilizing typography and graphics in an abstracted story-based environment.The stories illustrated come from the book of Psalms in the New International Version translation of the Bible. These are some of the oldest texts in the world. This body of work, completed in high-definition video, required a process of pre-production (treatment, storyboarding, and planning), production (shooting, lighting, and directing), and post-production (capturing, editing, compositing, and design). Bill Viola, Jem Cohen, and Michel Gondry have impacted the style and structure of my video work.Department of Art