Relevant bibliographies by topics / Visuell identitet

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'Visuell identitet'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Visuell identitet.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Visuell identitet"

Jang,, ChangSik. "Study on the Convergence Between a Corporation's Visual Identity System and the Open Visual Identity System: Based on the case of Hyundai Heavy Industries." Journal of Cultural Product and Design 43, no. 1 (December 30, 2015): 203–11. http://dx.doi.org/10.18555/kicpd.2015.43.203.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Oktaviani, Anita, and Menul Teguh Riyanti. "ANALISIS VISUAL LOGO ORGANISASI PENGELOLAAN LIMBAH SAMPAH RUMAH TANGGA “GAWE RUKUN”." Jurnal Dimensi DKV Seni Rupa dan Desain 3, no. 2 (October 1, 2018): 127. http://dx.doi.org/10.25105/jdd.v3i2.3600.

Full text

Abstract:

<strong>Abstract</strong><br />Visual Logo Analysis of Household Waste Management Organization “Gawe Rukun”. Logo in corporate identity or brand identity is a symbol or a sign that describes and represents the identity of what is in it. A well-conceptualized logo or branding becomes an identity that can communicate visually. Gawe Rukun is an organization that focuses<br />on handling, managing waste, and greening especially in Kunciran Indah, Tangerang, Banten. This organization is a pioneer of the Tangerang City government program on 1000 Bank Trash. Visually, the garbage bank logo Gawe Rukun paid little attention to the placement of visual elements in it. The research method used in this research is descriptive qualitative analytic method with the technique of collecting interview data, observation, literature study, and documentation study. An effective, communicative,and informative logo can reinvigorate the existence and identity of the Gawe Rukun junk bank organization that the conceptualized branding will bring a good identity to the organization.<br /><div> </div><div> </div><div> </div><strong>Abstrak</strong><br />Analisis Visual Logo Organisasi Pengelolaan Limbah Sampah Rumah Tangga “Gawe Rukun”. Logo dalam corporate identity atau brand identity merupakan sebuah simbol atau tanda yang menggambarkan dan mewakili identitas dari apa yang ada di dalamnya. Logo atau branding yang terkonsep dengan baik menjadi suatu identitas yang dapat berkomunikasi secara visual. Gawe Rukun merupakan organisasi yang fokus pada mengatasi, menangani, mengelola sampah, dan penghijauan khususnya di wilayah kelurahan Kunciran Indah, Tangerang, Banten. Organisasi ini merupakan pelopor dari program pemerintah Kota Tangerang tentang 1000 Bank Sampah. Secara visual, logo<br />bank sampah Gawe Rukun kurang memperhatikan penempatan elemen visual yang ada di dalamnya. Metode penelitian yang dipakai dalam penelitian ini adalah metode deskriptif kualitatif analitik dengan teknik pengumpulan data wawancara, observasi, studi kepustakaan, dan studi dokumentasi. Logo yang efektif, komunikatif, dan informatif dapat mengangkat kembali eksistensi dan identitas organisasi bank sampah<br />Gawe Rukun bahwa branding yang terkonsep akan membawa identitas yang baik untuk organisasi tersebut.

APA, Harvard, Vancouver, ISO, and other styles

Almakki, Zamzami. "Analisa Penanda Cangkir Pada Brandmarks Coffeeshop di Jakarta." ULTIMART Jurnal Komunikasi Visual 9, no. 1 (March 21, 2018): 56–74. http://dx.doi.org/10.31937/ultimart.v9i1.741.

Full text

Abstract:

Identitas visual memiliki peranan penting dalam sebuah usaha dan institusi. Perusahaan daninstitusi yang tidak memiliki identitas visual memiliki kecenderungan tidak dikenali dan dibedakan. Maraknya industri kopi dan lebih spesifiknya pada coffeeshop, marak pula kebutuhan akan identitas visual, untuk dikenali sebagai coffeeshop dan dibedakan dari coffeeshop lainnya. Akan tetapi, kehadiran beberapa identitas visual coffeeshop ternyatasangat mudah dikenali dengan penggunaan cangkir pada logonya. Hal tersebut yang menjadi pembahasan utama dalam penelitian yang akan dilakukan dengan menggunakan metode penelitian kualitatif dengan pendekatan semiotika visual yang merupakan perpaduan antara tipologi brandmarks yang dikemukakan Wheeler (2009) dan struktur logo yang dikemukakan Floch (2000) serta tipe obyek tanda yang dikemukakan Pierce terhadap tanda pada brandmarks. Analisa ini diharapkan dapat menghasilkan pemahaman atas penggunaan penanda cangkir pada brandmarks coffeeshop dan pengetahuan dalam menganalisa identitas visual. Kata kunci: visual, coffeeshop, logo

APA, Harvard, Vancouver, ISO, and other styles

Adiwibawa, Bernardus Andang Prasetya, and Dwi Puji Prabowo. "Karakter Fasad Bangunan Ikonik Kota sebagai Alternatif Desain Identitas Kota Semarang." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 01 (March 26, 2018): 23–32. http://dx.doi.org/10.33633/andharupa.v2i01.1003.

Full text

Abstract:

AbstrakArtikel ini adalah hasil dari penelitian yang dilakukan untuk menggali khasanah khas kota dalam bentuk tampilan luar atau fasad bangunan sebagai alternatif acuan visual bagi suatu desain identitas. Penelitian dilakukan untuk menentukan bangunan yang secara visual terkenal, dengan metode jajak pendapat atau polling. Pengembangan desain identitas visual dilakukan dengan pendekatan formal melalui penyederhanaan bentuk. Luaran dari penelitian dan pengembangan desain adalah beberapa alternatif desain identitas kota. Kesimpulan dari penelitian ini adalah bahwa bangunan ikonik atau terkenal di suatu kota potensial menjadi alternatif suatu desain identitas visual. Kata kunci: fasad, bangunan, acuan visual, desain, identitas kota AbstractThis article is a result of a research conducted to elaborate building facades as iconic city’s treasure as alternative visual reference for city’s visual identiy design. Polling method is conducted to determine some noted building. A formal analysis is carried out to develop visual design by stylizing the facades. The outcome of the research and design development are some alternative city’s identity designs. The conclusion of this research is that noted/iconic buildings in the city have a potential to be used as visual references for visual identity design. Keywords: facade, building, visual reference, desain, city’s identitas

APA, Harvard, Vancouver, ISO, and other styles

Zulkarnain, Alfiansyah, Febrianti Setiana, Felicia Kristella, and Felicia Violetta. "ANALISA UNSUR ESTETIKA DESAIN IDENTITAS VISUAL KARYA STUDIO DESAIN PENTAGRAM BERDASARKAN KACAMATA TEORI EKSPRESI DAN FORMALISME." GESTALT 1, no. 1 (June 30, 2019): 1–12. http://dx.doi.org/10.33005/gestalt.v1i1.16.

Full text

Abstract:

Kajian estetika atas karya desain komunikasi visual dilakukan atas hasil proyek-proyek desain identitas visual dari studio desain Pentagram, salah satu studio desain grafis berorientasi branding yang paling sukses dan ternama di dunia. Tiga studi kasus identitas visual yang dikaji yaitu identitas visual MTV World Creative Studio (perusahaan media), MIT Media Lab (laboratorium penelitian universitas), dan Saks Fifth Avenue (toko retail fashion). Kajian estetika akan dilakukan berdasarkan dua sudut pandang kacamata teoritis klasik, yaitu teori ekspresi dan formalisme. Dapat disimpulkan bahwa pada umumnya logo-logo atau identitas visual Pentagram yang sudah dikaji memiliki kualitas estetis yang variatif, tergantung dari sudut pandang kacamata teoritis yang diambil.

APA, Harvard, Vancouver, ISO, and other styles

Karunia, Anita, Alimuddin Alimuddin, and Nurabdiansyah Nurabdiansyah. "PERANCANGAN IDENTITAS VISUAL DESTINASI WISATA KAWASAN TELUK YOUTEFA KOTA JAYAPURA." JURNAL IMAJINASI 4, no. 2 (December 5, 2020): 11. http://dx.doi.org/10.26858/i.v4i2.17289.

Full text

Abstract:

Perancangan ini bertujuan untuk menciptakan identitas visual baru yang menarik, konsisten dan sesuai dengan citra yang ingin dibangun Teluk Youtefa sebagai salah satu cara dalam pengembangan destinasi wisata di Kota Jayapura serta diterapkan pada graphic standard manual, stationery, dan gifts/merchandise agar dapat digunakan sebagai media identifikasi media promosi wisata. Data yang digali dalam penelitian ini mencakup teori desain terkait merancang logo serta teori warna, tipografi, brand, branding, identitas visual, brand awareness, serta data teluk youtefa berupa pedoman wawancara dan pedoman observasi. Data diperoleh diteliti menggunakan metode kualitatif, analisis SWOT, dan analisis STP. Logo dari Teluk Youtefa menampilkan visualisasi yang memperkenalkan nilai budaya dan keindahan alam kepada para wisatawannya, oleh karena itu identitas visual di desain agar memiliki kesan menyenangkan, dan tidak terlepas dari unsur alam dan budaya suku tobati dan enggros. Hasil perancangan identitas visual ini adalah logo dengan menggunakan media utama berupaGraphic Standard manual sebagai buku panduan yang berisi aturan serta penggunaan identitas visual Youtefa dan mencakup logo, warna dan tipografi, juga penerapannya pada media. Logo dari hasil Perancangan Identitas Visual Kawasan Teluk Youtefa kemudian diaplikasikan ke dalam media pendukung sebagai media promosi, media komunikasi pendukung terdiri dari Stationary dan Gift/ Merchandise.

APA, Harvard, Vancouver, ISO, and other styles

Karunia, Anita, Alimuddin Alimuddin, and Nurabdiansyah Nurabdiansyah. "PERANCANGAN IDENTITAS VISUAL DESTINASI WISATA KAWASAN TELUK YOUTEFA KOTA JAYAPURA." TANRA: Jurnal Desain Komunikasi Visual Fakultas Seni dan Desain Universitas Negeri Makassar 7, no. 3 (December 31, 2020): 145. http://dx.doi.org/10.26858/tanra.v7i3.17290.

Full text

Abstract:

APA, Harvard, Vancouver, ISO, and other styles

C.R.E.C, Aileena Solicitor, Diana Aqidatun Nisa, Alfian Candra Ayuswantana, Handy Octoriawan Sumitro, and Amaliya Nur Hanani. "PENTINGNYA TYPEFACE SEBAGAI IDENTITAS VISUAL KAWASAN WISATA PANTAI PARANG DOWO." JABN 1, no. 1 (April 30, 2020): 38–48. http://dx.doi.org/10.33005/jabn.v1i1.1.

Full text

Abstract:

Tipografi dalam dunia desain komunikasi visual merupakan hal yang sangat penting dan sering dipakai untuk menyempurnakan sebuah desain. Dalam kehidupan sehari-hari sering dijumpai berbagai macam bentuk desain yang didalamnya mengandung unsur tipografi seperti; desain brosur, periklanan dan desain lainnya yang merupakan suatu bentuk komunikasi visual. Dalam tipografi terdapat istilah Typeface yang merupakan rancangan karakter dari sekumpulan huruf. Rancangan huruf tidak hanya terbatas pada media komunikasi, namun juga berfungsi sebagai bentuk identitas visual. Salah satunya identitas visual pada daerah wisata. Di Kabupaten Malang memiliki destinasi wisata alami yang cantik, salah satunya Pantai Parang Dowo yang memiliki tempat berendam alami yang cantik di pinggir pantainya, namun masih belum banyak pengunjungnya. Dengan banyaknya keindahan alam yang dimiliki Pantai Parang Dowo perlu adanya sebuah identitas visual untuk memudahkan menyampaikan informasi serta sosialisasi pentingnya identitas visual bagi masyarakat sekitar. Perancangan dan sosialisasi ini dilakukan berdasarkan riset kualitatif berupa observasi dan wawancara mendalam. Hasil rancangan akan disosialisasikan kepada masyarakat melalui penyuluhan dan implementasi. Dengan demikian adanya desain typeface sebagai identitas visual akan sangat membantu pertumbuhan Pantai Parang Dowo sebagai daerah wisata alam yang ada di Kabupaten Malang.

APA, Harvard, Vancouver, ISO, and other styles

Ersyad, Firdaus Azwar, Errika Dwi Setya Watie, and Ayang Fitrianti. "Identitas Visual Dalam Destination Branding Kawasan Srigunting Semarang." Jurnal Dinamika Sosial Budaya 21, no. 2 (December 13, 2019): 116. http://dx.doi.org/10.26623/jdsb.v21i2.1720.

Full text

Abstract:

Penelitian ini bertujuan untuk menganalisis potensi kawasan Srigunting Semarang. Potensi kawasan ini perlu adanya rancangan identitas visual sebagai bentuk bentuk promosi wisata kota Semarang yang notabene pemerintah masih aktif untuk meningkatkan promosi wisata lokanya. Penelitian ini bermaksud merancang identitas visual bagi Kawasan Srigunting, sehingga penelitian ini dilakukan dengan penelitian kualitatif. Sebagai sebuah kegiatan komunikasi persuasif, perancangan ini menggunakan pendekatan <em>A-A Procedure.</em> Adapun teknik pengumpulan data dalam penelitian ini adalah observasi, wawancara, dokumentasi dan studi literatur. Penelitian ini bermaksud memberi kontribusi pemerintah kota Semarang khususnya dinas Kebudayaan dan Pariwisata untuk merancang identitas visual kawasan Srigunting agar memiliki identitas yang dapat dijual kemasyarakat dan dapat menambah daya tarik stakeholder untuk meningkatkan promosi kota Semarang

APA, Harvard, Vancouver, ISO, and other styles

Rizaldi, Mohammad, Edina Margaret, and Triden Triden. "Kajian Visualisasi Logo Sekolah Menengah Atas Di Tangerang Selatan." ULTIMART Jurnal Komunikasi Visual 7, no. 1 (November 12, 2016): 52–66. http://dx.doi.org/10.31937/ultimart.v7i1.471.

Full text

Abstract:

Visual logo merupakan salah satu wajah atau identitas sebuah perusahaan ketika mereka berada ditengah-tengah masyarakat, visual logo mewakili dari adanya identitas setiap perusahaan, logo memiliki peran penting dalam menunjang setiap bisnis atau usaha dari tiap perusahaan, dan visual logo mampu memberikan dampak atau pengasosiasian bagi setiap orang yang melihatnya. Perkembangan zaman mempengaruhi beberapa aspek mengenai perkembangan visual dari berbagai jenis identitas visual yakni berupa logo dari sebuah institusi pendidikan atau Sekolah. Salah satu perkembangan yang terjadi adalah ditemukan adanya sebuah perubahan pada trend dari visual sebuah logo yang diterapkan pada tiap sekolah, banyak visual logo pada sekolah khususnya di Tangerang Selatan masih menggunakan pendekatan-pendekatan tradisional, yang dimana pendekatan-pendekatan tersebut lebih mengkomunikasikan sebuah makna yang dapat diperlihatkan secara simbolis melalui visual logo yang memiliki pengasosiasian makna dari simbol yang sudah ada di tengah-tengah masyarakat dan mudah untuk dipahami. Penelitian ini bertujuan untuk mencari tahu mengenai elemen-elemen visual yang sering digunakan oleh pihak sekolah sebagai bahan pertimbangan mereka ketika proses perancangan visual logo. Keywords: visual logo, identitas visual, institusi pendidikan, Sekolah Menengah Atas

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Visuell identitet"

Grape, Oliver. "Utformning av AntagonistenTVs visuella identitet : Visuell identitet inom streaming." Thesis, Högskolan Dalarna, Informatik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-31023.

Full text

Abstract:

Denna studie fokuserar på framtagandet av en visuell identitet för streamen AntagonistenTV på Twitch.tv som ägs av Felipe Delgado. David Sless sjustegsmetod har använts vid skapandet av identiteten. En visuell innehållsanalys har gjorts på andra streams för att få bättre förståelse inom streamingvärlden och underlätta designprocessen. Enkätundersökningar har använts för att få målgruppens perspektiv och åsikter. Enkäten visar hur tittarna påverkas av stream-designen. Slutresultatet blev en visuell identitet åt AntagonistenTV som sammanfattades i en grafisk manual.
This study focuses on developing a visual identity for the stream AntagonistenTV on Twitch.tv owned by Felipe Delgado. David Sless sevenstep method has been used in the creation of identity. A visual content analysis has been done on other streams to gain a better understanding of the streaming world and to facilitate the design process. Surveys have been used to get the target group's perspectives and opinions. The survey shows how the viewers are influenced by the stream design. The end result was a visual identity for AntagonistenTV which was summarized in a graphic manual.

APA, Harvard, Vancouver, ISO, and other styles

Porter, Niklas. "Visuell identitet för band i musikbranschen : Processen bakom att skapa Marigolds visuella identitet." Thesis, Högskolan Dalarna, Grafisk teknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28279.

Full text

Abstract:

Föreliggande undersökning är ett exempel på hur visuella identiteter för musikband kan skapas. Musikbandet Marigold användes som exempel. Uppsatsen grundar sig i ett problem: Bandmedlemmarna upplever att deras nuvarande identitet inte längre stämmer överens med hur de själva vill uppfattas rent visuellt och har inte utvecklats i takt med deras musik, budskap och värdeord. Syftet med studien blev då att sammanställa ett grafiskt uttryck samt ett antal artefakter som överensstämmer med ovannämnda faktorer. Målet med det grafiska uttrycket samt artefakterna är att de ska utgöra grunden för Marigolds nya visuella identitet och effektivare kommunicera med målgruppen. Undersökningen följer en design-baserad forskningsstrategi där olika metoder har valts för att lösa forskningsproblemet. Föreliggande undersökning har använts sig av visuella analyser (på Marigold och andra musikband, gruppintervjuer (med Marigold) och fokusgrupp (med målgruppen). De olika metoderna gav underlag till framtagningen av det grafiska uttrycket och de olika artefakterna som sedan skulle lösa forskningsproblemet. Från undersökningen har det fastställts att visuella element som logotyp, typsnitt, färger, bildmanér (för still- och rörligbild) var viktiga element i musikbandets grafiska uttryck. Artefakter som togs fram var: 1 albumomslag, 3 singelomslag, bildmanér till still- och rörligbild, pressbilder, annonser på sociala medier samt designförslag på webbsida. De olika artefakterna valdes och utvecklades dels utifrån vad musikbandet själva efterfrågade, dels utifrån insamlad kunskap om andra aktörer i musikbranschen samt målgruppens attityder och åsikter. Hur en visuell identitet skall konstrueras beror på det enskilda fallets behov och problem. I Marigolds fall var det viktigt att skapa ett enhetligt grafiskt uttryck som stämmer överens med musikbandets musik, budskap och värdeord och att kommunicera till den tilltänkta målgruppen.
The present research is an example of how a visual identity can be created for music bands. The research was conducted using the band Marigold as an example. The following research is based on a problem: The band members believe that their current visual identity does not align with how they perceive themselves visually and has not evolved at the same rate as their music, message and values. The purpose of the research was then to create a graphic expression and several artifacts that correspond to the elements stated above. The aim of the graphic expression and artifacts is to form the basis for Marigold's new visual identity and to more efficiently communicate with their target audience. The research follows a design-based research strategy where different methods have been chosen to solve the research problem. The following methods were used: visual analysis (Marigold and other bands), group interviews (with Marigold) and a focus group (with the intended audience). The different methods provided the basis for the development of the graphic/visual expression and the different artifacts that would then solve the research problem. From the research, it has been established that visual elements such as logo, fonts, colors, “image style” (for moving and still images) were important elements of the band's graphic expression. Artefacts created where, 1 album cover, 3 single covers, “image style for still- and motion pictures, press photos, ads for social media and design proposition for a website. The different artifacts were chosen and developed based on what the band themselves asked for, on collected knowledge of how other actors in the music industry look and the audience's attitudes and opinions. How a visual identity should be constructed depends on the needs and problems of the individual case. In Marigold’s case it was important to create a unified expression that aligns with their music, messages, values, and communicates this to the intended audience, as was the goal of this research.

APA, Harvard, Vancouver, ISO, and other styles

Olsson, Katarina. "Bryta ner och definiera visuell identitet." Thesis, Luleå tekniska universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-66872.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Grönlund, Viivi, and Sara Sasi. "Vikten av visuell identitet hos varumärken : En studie om hur den visuella identiteten formar konsumentens varumärkesuppfattning." Thesis, Södertörns högskola, Företagsekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39379.

Full text

Abstract:

Today we live in a society that focuses more and more on the visual aspects. Visual identity is the most visible part of a company's communication with the outside world, yet it is relatively unexplored in the academic literature. The purpose of this paper is to investigate how consumers perceive brands based on their visual identity. The thesis will include a qualitative method, consisting of a semiotic image analysis and focus group interviews. The results show that the perception of the brand based on the visual identity depends on the expectations the consumer has about the industry. The visual identity of the chosen companies was considered refreshing, exciting and playful, which attracted consumers. But the more consumers became aware of their visual identity, the more skeptical they became.
Vi lever idag i ett samhälle som fokuserar alltmer på det visuella. Visuella identiteten är den mest synliga delen av ett företags kommunikation med omvärlden, ändå är den relativt ouppmärksammad i den akademiska litteraturen. Syftet med denna uppsats är att undersöka hur konsumenter uppfattar varumärken utifrån dess visuella identitet. Uppsatsen kommer inneha en kvalitativ metod, bestående av en semiotisk bildanalys samt fokusgruppsintervjuer. Resultaten visar att uppfattningen av varumärket utifrån den visuella identiteten beror på vilka förväntningar konsumenten har på den branschen. Den visuella identiteten hos de valda företagen uppfattades som uppfriskande, spännande och lekfullt, vilket attraherade konsumenterna. Men ju mera konsumenterna tog del av deras visuella identitet, desto mera skeptiska blev de.

APA, Harvard, Vancouver, ISO, and other styles

Domeij, Karin. "Att vara tonårstjej i en visuell kultur : en undersökning av tjejers identitetsarbete och visuella kommunikation." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4146.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Newstam, Emma, and Annika Widlert. "Visuell identitet åt Café Forsnäs – ett arbetsintegrerande socialt företag." Thesis, Högskolan Dalarna, Grafisk teknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28449.

Full text

Abstract:

Föreliggande rapport har genomförts i samarbete med uppdragsgivaren Café Forsnäs. Syftet med undersökningen var att ta reda på hur den visuella identiteten för Café Forsnäs arbetsintegrerande sociala företag (ASF) bör se ut för att förmedla deras värdeord och vision, medmänsklighet. Studien inledes med en semistrukturerad intervju med Café Forsnäs för att få djupare inblick i företagets värdeord och vision. En visuell observation utfördes med syftet att få överblick hur andra ASF:s väljer att profilera sig. En semistrukturerad intervju utfördes med ett redan etablerat företag med sociala mål med syftet att ta reda på hur andra sociala företag ser på sin visuella identitet. Ytterligare en semistrukturerad intervju genomfördes med arbetstagande i ett företag med sociala mål. Syftet var att ta reda på om det visuella uttrycket hos ett företag var en avgörande faktor vid sökandet av praktik- eller arbetsplats. En enkätundersökning genomfördes med syftet att undersöka hur Café Forsnäs vision bäst skulle förmedlas: Ett medmänskligt, ekologiskt café på landet. Baserat på enkätundersökningen påbörjades designarbetet i nära samarbete med uppdragsgivaren. Från undersökningen har det framgått att företag med sociala mål oftast inte prioriterar sin visuella identitet. Det framkom också att det är av stor vikt för ett ASF att framstå som strukturerad och seriös gentemot myndigheter och samarbetspartners. Forskning visar att en tydlig visuell identitet bidrar till ett seriöst intryck och slutsatsen som kan dras är att ett ASF därför bör ha en visuell identitet som tydligt kommunicerar företagets vision. Den visuella identiteten skapades utifrån känslan som framkom av enkätundersökningen och utifrån diskussioner med uppdragsgivaren.
This survey is conducted in collaboration with Café Forsnäs. The purpose of the survey was to find out how the visual identity of Café Forsnäs work integration social enterprise should look to convey their value and vision, humanity. The study starts with a semi-structured interview with Café Forsnäs for a deeper insight into the company's value and vision. A visual observation was performed with the purpose of gaining an overview of how other work integration social enterprises choose to profile themselves. A semi-structured interview was conducted with an already established company with social goals with the purpose of finding out how other social enterprises look at their visual identity. A further semi-structured interview was conducted with employees in a company with social goals. The purpose was to find out if the visual expression of a company was a decisive factor in the search for an internship or workplace. A survey was conducted with the aim of exploring how Café Forsnäs vision was best served: a charitable, organic café in the country. Based on the survey, design work began in close cooperation with the client. From the survey it has been found that companies with social goals usually do not prioritize their visual identity. It also emerged that it is very important for a work integration social enterprise to appear structured and serious towards authorities and partners. Research shows that a clear visual identity contributes to a serious impression and the conclusion that can be drawn is that a work integration social enterprise should therefore have a visual identity that clearly communicates the company's vision. The visual identity was created on the basis of the visual sentiment of the questionnaire and on the basis of discussions with the client.

APA, Harvard, Vancouver, ISO, and other styles

Forselius, Henric, Alexander Ogefalk, and Farzin David Rajabi. "Liten förändring, stor skillnad : En kvalitativ studie om logotypers påverkan på den visuella identiteten." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-39384.

Full text

Abstract:

The purpose of this paper is to examine the role of logotypes within the visual identity and identify possible reasons that motivate companies to change their logo. This paper should also clarify how different parts of the visual identity affect each other and how they are interconnected. The thesis research question is formulated with the purpose in mind and has led to the following question: How can a logo change contribute to enhanced visual identity? Since we wanted to obtain a better understanding of the chosen research area with help of interviews have we chosen a qualitative method for this thesis. During the process we have let the empirical material control the chosen theories. Our gathered theories are from secondary data and the empirical material has been collected from semi-structured interviews. In order to obtain a wider range of our research topic, we have selected the interviewed respondents from different industries and areas of work. In our work process, we have analyzed and discussed the impact of a logo and how a logo change could impact on the visual identity. Our research showed that a single logo change would not necessarily have an impact on the visual identity but would improve with a combined match of the identities other components. During our process we also identified three main ingredients that a good logo should contain. Finally, we have developed a theory that shows how visual identity components are interconnected.

APA, Harvard, Vancouver, ISO, and other styles

Carlstein, Maja, and Kristin Axelsson. "Visuell identitet på Instagram : En kartläggning av grafik på second handföretags instagramkonton." Thesis, Högskolan Dalarna, Institutionen för information och teknik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37318.

Full text

Abstract:

Bakgrund Medvetenheten om vår miljöpåverkan och intresset för ett mer hållbart konsumtionssamhälle har ökat. För att uppnå de globala målen för en hållbar utveckling, behöver miljöpåverkan från konsumtionen minska. En del av lösningen är second hand-försäljning som också är en av de konsumtions-trender som ökar i störst omfattning. Konsumenterna uppskattar företag som bedriver hållbara verksamheter och behöver information från företagen för att kunna fatta medvetna köpbeslut. Sociala medier som Instagram används av second hand-företag för att nå ut med sin information. Dock kan det vara svårt att synas genom den stora mängd information som florerar i flödena. Detta ställer krav på att second hand-företagens visuella identiteter utvecklas för att nå den önskade målgruppen. Syfte Studiens syfte är att kartlägga hur second hand-företag använder grafik som en del av deras visuella identitet för att utmärka sig på Instagram. Metod Som datainsamlingsmetod användes en visuell innehållsanalys. Urvalet bestod av elva second hand-företag vars inlägg på Instagram innefattades av kläder och inredning. Resultat/slutsatser I denna studie var användningen av de grafiska elementen jämnt fördelad totalt sett för gruppen av second hand-företag. De grafiska element som företagen använder i inlägg är illustrationer, logotyper/symboler, tonplattor och text. Av det totala antalet inlägg som second hand-företagen publicerar, består 34% av inlägg med grafik. Totalt sett för gruppen av second hand-konton var inlägg med grafik i kombination med fotografisk bild den vanligaste typen av inlägg att publicera. För den totala gruppen företag används färger ur kategori röd, gul, grön, blå, svart, vit, grå och magenta varav röd användes i störst omfattning i inläggen med grafik. Second hand-företagen använder typsnitt ur huvudklasserna Sanserif, Seriff och Display i inläggen, varav typsnitt i huvudklassen Sanserif används i störst omfattning. Inom underklasserna tillhörande de olika huvudklasserna används Neogrotesque, Grotesque, Transitional och Processed/Manipulated i störst omfattning.
Background The awareness of our environmental impact and the interest for achieving a more sustainable consumer society has increased. The impact from consumption must be reduced in order to reach the global goals for a sustainable development. Second hand sales is a part of the solution towards a more sustainable future and is also one of the most increasing consumption trends. Consumers appreciate companies that take sustainable actions, and they need information from the companies to make more conscious buys. Social media platforms, such as Instagram, are being used by second hand companies to reach out with their information. However, it can be difficult to be seen amongst the large amount of information that overflows in Instagram feeds. Therefore, the companies need to develop their own visual identities in order to reach their desired target group and attract buyers. Aim The purpose of this study is to map how second hand companies uses graphics as a part of projecting their visual identities on Instagram. Method A visual content analysis was used to collect data for the study. Eleven second hand companies, whose Instagram posts contained clothing and home interior, was selected for the analysis. Results/conclusions The result of this study shows that the second hand companies total use of different graphics was spread evenly amongst the following elements: illustrations, logos/symbols, solid color surfaces and text. Of the total number of posts that were published by the second hand companies, 34% consist of posts with graphics. Posts that consisted of graphics were most often used in the combination of photographic images and graphics. These types of posts were the overall most common for the second hand companies in this group to publish. The colors that the group of second hand companies uses in their posts consisting graphics, were found in the categories: red, yellow, green, blue, black, white, gray and magenta of which red was used in the greatest extent. The typefaces that were used in the posts were classified as Sanserif, Seriff and Display but Sanserif typefaces were the more often used than the others. This study also covered these typeface classifications subclasses in which Neogrotesque, Grotesque, Transitional and Processed/Manipulated are used to the greatest extent.

APA, Harvard, Vancouver, ISO, and other styles

Carlsson, Alexandra, and Daniel Tängerfors. "Framtagning av Rockmotion Films visuella identitet." Thesis, Högskolan Dalarna, Grafisk teknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28450.

Full text

Abstract:

I dagens medievardag blir rörlig bild allt mer vanligt. Fler satsar på att använda video och för de som producerar film blir det därför alltmer viktigt att kunna särskilja sig från sina konkurrenter med en visuell identitet. Föreliggande rapport har utförts i samarbete med Rockmotion Film HB, ett bolag som producerar filmer främst till kunder inom musik och nöjesverksamhet. Sedan starten har Rockmotion Film saknat en komplett visuell identitet vilket är nödvändigt för att upplevas som seriösa. Syftet med studien har varit att skapa en ny visuell identitet och redesigna befintlig logotyp baserat på Rockmotion Films kärnvärden och vision. Studien inleddes med en semistrukturerad intervju med vår samarbetspartner för att ta reda på nödvändig information om företaget. Vidare gjordes en visuell innehållsanalys för att få en uppfattning om konkurrenternas visuella identiteter. Genom enkätundersökningar och fokusgrupp har framtaget material testats för att få fram ett slutgiltigt förslag. Resultatet av detta examenarbete är en enkel och tilltalande visuell identitet som överensstämmer med de framtagna kärnvärdena, personligt, ungdomligt och professionalitet samt vår samarbetspartners vision kring den visuella identiteten.
The use of moving pictures has become far more common. Since more people use moving pictures it has become more important for film producers to distinguish themselves from their competitors with a visual identity. This study has been conducted in collaboration with Rockmotion Film HB, a company specialized in making videos for music and entertainment businesses. Since the beginning Rockmotion Film have been missing a complete visual identity which for a company is necessary to be seen as serious. The purpose with this study was to create a new visual identity and redesign the existing logotype based on Rockmotion Film’s core values and vision. The study began with a semi-structured interview with the company to gather necessary information about the company. In addition, a visual content analysis was made to gain perception of the competitors' visual identities. Through surveys and a focus group, the produced material has been tested to obtain a final suggestion. The result of this thesis is a simple and catching visual identity that complies with the core values, personal, youthful and professional as well as the client's vision of the visual identity.

APA, Harvard, Vancouver, ISO, and other styles

Vibrandt, Anna. "Utformningen hos toppuniversitets logotyper : en visuell innehållsanalys." Thesis, Högskolan Dalarna, Grafisk teknologi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-15776.

Full text

Abstract:

Föreliggande studie syftar till att genom en visuell innehållsanalys kartlägga gemensamma drag i 120 universitetslogotypers visuella utformning, samt undersöka samband mellan dessa karaktärsdrag och universitetens internationella rankningsposition.Med utgångspunkt från topprankningslistan Times Higher Education World University Rankings med 400 internationella universitet, indelade i fyra grupper i intervaller om 100 (d.v.s. rankningsposition 1–100, 101–200 etc.), valdes 30 universitet ut per grupp genom ett obundet slumpmässigt urval. Logotyperna för universiteten inhämtades främst från deras grafiska manualer.I studien presenteras förekomsten av generella drag med avseende på färg, typografi, typologi, detaljrikedom samt innehåll och form. Resultatet visade på tydliga gemensamma drag med i regel en till två dominerande karaktärsdrag per kategori. Resultaten tyder dock inte på att universitetens rakningsposition påverkar den visuella utformningen.
This study was initiated to identify common or general themes apparent among university logotypes and the correlation between these and the respective global ranking of the university.This visual content analysis was conducted across a sample of 120 university logotypes drawn from the top 400 list of Times higher education world university rankings. Thirty universities were chosen at random from each of the four groups of 100, according to rank (i.e. 1–100, 101–200 etc.).In particular in this study the categories compared were: colour, typography, typology, detail level and content/shape. The findings showed that there were strong themes present across all the universities generally. In most cases for each category of comparison, one or two dominant characteristics took form. It was concluded however that these themes did not correlate with the ranking level of the university.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Visuell identitet"

Jochims, Reimer. Kunst und Identität: Visuelle Erkenntnis als Lebens-Erfahrung. Ostfildern: Edition Tertium, 1996.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Warsono, Nano. Jogja agropop: Negosiasi identitas kultural dalam seni visual. [Yogyakarta]: Langgeng Gallery, 2012.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Fotografie und "Identität": Visuelle Repräsentationspolitiken in künstlerischen Arbeiten der 1980er und 1990er Jahre. Bielefeld: Transcript, 2010.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Colored pictures: Race and visual representation. Chapel Hill: University of North Carolina Press, 2003.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Kleinspehn, Thomas. Der flüchtige Blick: Sehen und Identität in der Kultur der Neuzeit. Reinbeck bei Hamburg: Rowohlt, 1989.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Der europäische Ernst: Identität im Zeitalter populärkultureller Dislozierung : ein Beitrag zur audiovisuellen Anthropologie. Wien: Passagen, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Den visuella texten: Multimodal analys i praktiken. Stockholm: Hallgren & Fallgren, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Farber, Leora. Imaging ourselves: Visual identities in representation. Johannesburg: University of Johannesburg, Faculty of Art Design and Architecture, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Visual stimulation: Shaping teen identities. Oxford, United kingdom: Inter-Disciplinary Press, 2015.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

United in visual diversity: Images and counter-images of Europe. Innsbruck: StudienVerlag, 2010.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Visuell identitet"

Neumann, Iver B. "Identity." In Visual Global Politics, 182–88. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Interventions: Routledge, 2018. http://dx.doi.org/10.4324/9781315856506-27.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Andrzejczak, Jarosław, and Kinga Glinka. "Generative Visual Identity System." In Advances in Intelligent Systems and Computing, 191–201. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-10383-9_18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Riquet, Johannes, and Martin Heusser. "Identity and Modern Visual Culture: Textual Perspectives." In Imaging Identity, 1–31. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21774-7_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Harrison, Bernard. "Identity, Predication and Colour." In Philosophy and the Visual Arts, 169–89. Dordrecht: Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-009-3847-2_9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Bonenberg, Wojciech. "Brand Visual Identity in Architecture." In Universal Access in Human-Computer Interaction. Design for All and Accessibility Practice, 143–52. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07509-9_14.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Hjulstad, Johan. "Identity Negotiations in a Visually Oriented Virtual Classroom." In Identity Revisited and Reimagined, 241–69. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58056-2_12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Ceccarelli, Nicolò. "Images of Identity: Exploring Local Identity Through Visual Design." In Proceedings of the 2nd International and Interdisciplinary Conference on Image and Imagination, 589–605. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41018-6_48.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Thomas, Quartier OSB. "Shooting monastic identity." In A Visual Approach to the Study of Religious Orders, 79–105. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in the sociology of religion: Routledge, 2019. http://dx.doi.org/10.4324/9780429032103-5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Wayne, Thomas, Temitope Farinloye, and Emmanuel Mogaji. "Analysis of African universities’ corporate visual identities." In Strategic Marketing of Higher Education in Africa, 176–204. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge studies in marketing; 9: Routledge, 2020. http://dx.doi.org/10.4324/9780429320934-13.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Bar, Moshe. "Conscious and Nonconscious Processing of Visual Identity." In Beyond Dissociation, 153. Amsterdam: John Benjamins Publishing Company, 2000. http://dx.doi.org/10.1075/aicr.22.09bar.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Visuell identitet"

Sun, Yasheng, Hang Zhou, Ziwei Liu, and Hideki Koike. "Speech2Talking-Face: Inferring and Driving a Face with Synchronized Audio-Visual Representation." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/141.

Full text

Abstract:

What can we picture solely from a clip of speech? Previous research has shown the possibility of directly inferring the appearance of a person's face by listening to a voice. However, within human speech lies not only the biometric identity signal but also the identity-irrelevant information such as the talking content. Our goal is to extract as much information from a clip of speech as possible. In particular, we aim at not only inferring the face of a person but also animating it. Our key insight is to synchronize audio and visual representations from two perspectives in a style-based generative framework. Specifically, contrastive learning is leveraged to map both the identity and speech content information within the speech to visual representation spaces. Furthermore, the identity space is strengthened with class centroids. Through curriculum learning, the style-based generator is capable of automatically balancing the information from the two latent spaces. Extensive experiments show that our approach encourages better speech-identity correlation learning while generating vivid faces whose identities are consistent with given speech samples. Moreover, by leveraging the same model, these inferred faces can be driven to talk by the audio.

APA, Harvard, Vancouver, ISO, and other styles

Guida, Francesco Ermanno, and Ernesto Voltaggio. "Programming Visual Representations. Evolutions of Visual Identities between Tangible and Intangible." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3334.

Full text

Abstract:

The communication design field it's considerably changed in the last 20 years and more as well as the role of the designer. Technology has modified the daily work tools and new possible relations between the designer, the commitment and the final user can be underlined. Observing some of the most experimental practices, new visual languages have draw the attention, affected by innovative approaches and mixed competencies. The area of visual identities is especially of interest, not excluding other areas of experimentations.The phenomenon of the so-called dynamic or post-logo identities underlined the possibilities of using more fluid and expressive, variable, context related, processual, performative, non-linear, consistent visual languages instead of the usual and static repetition of a logo or an imposed series of rules (Felsing, 2010). But also their contradictions in making recognizable an organization and in the visual identity daily management.An interesting evolution to be underlined is in the use of the digital tools, not anymore in a passive way but in an active way. Visual designers can build their digital tools basing them on design and esthetic needs. Innovation is in the creative process, instead of in the final result, is in the “way to live our own creativeness” as affirmed precisely by Soddu (1998).The designer is not anymore just the user of ready-made digital tools, becoming himself programmer of customized digital toolboxes by using open source codes like Processing or VVVV or hardware like Arduino. This allows to affirm that visual designers are are becoming designer-producers (Bianchini & Maffei, 2012) too, as its happening for the colleagues of the product design field. Not just a DIY attitude but something that it's changing the control knobs of a design system in all its process and development. As far as technology support is relevant, technical matters are relegated in the background on behalf of abstraction and data parametrization that means on behalf of a meta-design level. The use of programming in creative and visual communication design processes “empowers the designer, freeing he from the constraints of predefined computational tools, and promoting creative freedom in the construction of visual metaphors” (Duro, Machado, Rebelo, 2012). The aim of this paper is to argue this recent evolution in the field of visual identities and in the wider area of communication design practices.DOI: http://dx.doi.org/10.4995/IFDP.2016.3334

APA, Harvard, Vancouver, ISO, and other styles

Bajardi, Alice. "Identity by the object: an educational project using portrait and self-portrait to build identities." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-15.

Full text

APA, Harvard, Vancouver, ISO, and other styles

ÖZTUNÇ, Müge, and Umur BEDİR. "NEW MEDIA AND NATIONAL IDENTITY: THE REPRESENTATION OF ATATURK ON NGO’s NOVEMBER 10th INSTAGRAM POSTS." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctc.2021/ctc21.049.

Full text

Abstract:

National symbols, traditions, and rituals emerge as the most influential signifiers of national identity and nationalism. These symbols and images that embody the basic concepts of nationalism, make them visible to other members of society, help to make abstract ideologies more socially concrete, strengthen the sense of national loyalty and strengthen the awareness of the members of the community that they belong to the same nation. On the other hand, Atatürk appears as a symbol of both Turkey’s modernization process and Turkish unity and solidarity. Focusing on the representations of Atatürk as one of the national symbols on the internet and social media, this research examines symbolic construction of national identity of NGOs that represent different social groups in Turkey through the “November 10, Atatürk Commemoration Day”. In this context, the 10 November 2019 posts of 38 Non-Governmental Organizations, which operate in different fields, are the most followed and have social, cultural, and economic activity on the society, were analyzed on Instagram. Shared visuals were used to categorize with the help of various codes assigned to them. Thematization method was used to characterize the types of photos posted on Instagram with embedded coding. Then, by combining very close codes, they were also subjected to clustering analysis in order to see which symbols are frequently used together and which meaning patterns they form. The findings of the study show that social media, which is often depicted as the space of global identities and flows, is a space where national identities are eclectically reconstructed by subjects and social groups that make up the nation and circulated through symbols.

APA, Harvard, Vancouver, ISO, and other styles

Öztunç, Müge, and Umur Bedir. "New Media and National Identity: The Representatıon of Atatürk on Ngo’s November 10th Instagram Posts." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.018.

Full text

Abstract:

National symbols, traditions, and rituals emerge as the most influential signifiers of national identity and nationalism. These symbols and images that embody the basic concepts of nationalism, make them visible to the members of society, help to make abstract ideologies more socially concrete, strengthen the sense of national loyalty and strengthen the awareness of the community members that belong to the same nation. On the other hand, Atatürk appears as a symbol of both Turkey's modernization process and Turkish unity and solidarity. Focusing on the representations of Atatürk as one of the national symbols on the internet and social media, this research examines the symbolic construction of the national identity of NGOs that represent different social groups in Turkey through the "November 10th, Atatürk Commemoration Day”. In this context, the November 10, 2019, posts of 38 Non-Governmental Organizations, which operate in different fields, are the most followed and have social, cultural, and economic activity on the society, were analyzed on Instagram. Shared visuals were used to categorize with the help of various codes assigned to them. The thematization method was used to characterize the types of photos posted on Instagram with embedded coding. Then, by combining very close codes, they were also subjected to clustering analysis to see which symbols are frequently used together and which meaning patterns they form. The findings of the study show that social media, which is often depicted as the space of global identities and flows, is a space where national identities are eclectically reconstructed by subjects and social groups that make up the nation and circulated through symbols.

APA, Harvard, Vancouver, ISO, and other styles

Stankovič Elesini, Urška, Tjaša Armič, and Raša Urbas. "SCENTED CORPORATE VISUAL IDENTITY." In 9th International Symposium on Graphic Engineering and Design. Faculty of Technical Sciences, 2018. http://dx.doi.org/10.24867/grid-2018-p66.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Gaižauskas, Aurimas. "Visual identity experience machine." In NordiCHI '14: The 8th Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2639189.2670279.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Tamblyn, Christine. "Mistaken identities." In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.253624.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Klint, Lars, Henrik Lisby, and Haical Abas Binthahir. "Using a PHM-based visual brand identity management system to manage deterioration of visual brand identities and prolong their life span." In 2014 IEEE Conference on Prognostics and Health Management (PHM). IEEE, 2014. http://dx.doi.org/10.1109/icphm.2014.7036364.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Yelle, Richard. "Multiple identities MAP." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259173.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Visuell identitet"

Stephens, Robert L., and Jacquelyn Y. Pearson. Automaticity of Processing Location Versus Identity Information in Brief Visual Displays. Fort Belvoir, VA: Defense Technical Information Center, March 1993. http://dx.doi.org/10.21236/ada265013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Fernández Rincón, Antonio Raúl, and Pedro Antonio Hellín Ortuño. La gestión estratégica de la identidad visual en las organizaciones con mejor reputación / The strategic management of visual identity in organizations. Revista Internacional de Relaciones Públicas, June 2019. http://dx.doi.org/10.5783/rirp-17-2019-06-97-116.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Yan, Yujie, and Jerome F. Hajjar. Automated Damage Assessment and Structural Modeling of Bridges with Visual Sensing Technology. Northeastern University, May 2021. http://dx.doi.org/10.17760/d20410114.

Full text

Abstract:

Recent advances in visual sensing technology have gained much attention in the field of bridge inspection and management. Coupled with advanced robotic systems, state-of-the-art visual sensors can be used to obtain accurate documentation of bridges without the need for any special equipment or traffic closure. The captured visual sensor data can be post-processed to gather meaningful information for the bridge structures and hence to support bridge inspection and management. However, state-of-the-practice data postprocessing approaches require substantial manual operations, which can be time-consuming and expensive. The main objective of this study is to develop methods and algorithms to automate the post-processing of the visual sensor data towards the extraction of three main categories of information: 1) object information such as object identity, shapes, and spatial relationships - a novel heuristic-based method is proposed to automate the detection and recognition of main structural elements of steel girder bridges in both terrestrial and unmanned aerial vehicle (UAV)-based laser scanning data. Domain knowledge on the geometric and topological constraints of the structural elements is modeled and utilized as heuristics to guide the search as well as to reject erroneous detection results. 2) structural damage information, such as damage locations and quantities - to support the assessment of damage associated with small deformations, an advanced crack assessment method is proposed to enable automated detection and quantification of concrete cracks in critical structural elements based on UAV-based visual sensor data. In terms of damage associated with large deformations, based on the surface normal-based method proposed in Guldur et al. (2014), a new algorithm is developed to enhance the robustness of damage assessment for structural elements with curved surfaces. 3) three-dimensional volumetric models - the object information extracted from the laser scanning data is exploited to create a complete geometric representation for each structural element. In addition, mesh generation algorithms are developed to automatically convert the geometric representations into conformal all-hexahedron finite element meshes, which can be finally assembled to create a finite element model of the entire bridge. To validate the effectiveness of the developed methods and algorithms, several field data collections have been conducted to collect both the visual sensor data and the physical measurements from experimental specimens and in-service bridges. The data were collected using both terrestrial laser scanners combined with images, and laser scanners and cameras mounted to unmanned aerial vehicles.

APA, Harvard, Vancouver, ISO, and other styles

Beck, Aaron. RiverOceanPlastic: Land-ocean transfer of plastic debris in the North Atlantic, Cruise No. AL534/2, 05 March – 26 March 2020, Malaga (Spain) – Kiel (Germany). GEOMAR Helmholtz Centre for Ocean Research Kiel, 2020. http://dx.doi.org/10.3289/cr_al534-2.

Full text

Abstract:

Cruise AL534/2 is part of a multi-disciplinary research initiative as part of the JPI Oceans project HOTMIC and sought to investigate the origin, transport and fate of plastic debris from estuaries to the oceanic garbage patches. The main focus of the cruise was on the horizontal transfer of plastic debris from major European rivers into shelf regions and on the processes that mediate this transport. Stations were originally chosen to target the outflows of major European rivers along the western Europe coast between Malaga (Spain) and Kiel (Germany), although some modifications were made in response to inclement weather. In total, 16 stations were sampled along the cruise track. The sampling scheme was similar for most stations, and included: 1) a CTD cast to collect water column salinity and temperature profiles, and discrete samples between surface and seafloor, 2) sediment sampling with Van Veen grab and mini-multi corer (mini-MUC), 3) suspended particle and plankton sampling using a towed Bongo net and vertical WP3 net, and 4) surface neusten sampling using a catamaran trawl. At a subset of stations with deep water, suspended particles were collected using in situ pumps deployed on a cable. During transit between stations, surface water samples were collected from the ship’s underway seawater supply, and during calm weather, floating litter was counted by visual survey teams. The samples and data collected on cruise AL534/2 will be used to determine the: (1) abundance of plastic debris in surface waters, as well as the composition of polymer types, originating in major European estuaries and transported through coastal waters, (2) abundance and composition of microplastics (MP) in the water column at different depths from the sea surface to the seafloor including the sediment, (3) abundance and composition of plastic debris in pelagic and benthic organisms (invertebrates), (4) abundance and identity of biofoulers (bacteria, protozoans and metazoans) on the surface of plastic debris from different water depths, (5) identification of chemical compounds (“additives”) in the plastic debris and in water samples.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

Contents

Academic literature on the topic 'Visuell identitet'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Journal articles on the topic "Visuell identitet"

Dissertations / Theses on the topic "Visuell identitet"

Books on the topic "Visuell identitet"

Book chapters on the topic "Visuell identitet"

Conference papers on the topic "Visuell identitet"

Reports on the topic "Visuell identitet"