Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Graphic design.
Rozprawy doktorskie na temat „Graphic design”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Graphic design”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
1
Sisson, Laurel. "Experiential design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11222.
Pełny tekst źródła
2
Gaydos, Benjamin. "[ethno]graphic design." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/98.
Pełny tekst źródłaStreszczenie:
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.
3
Settergren, Jane Ann. "PresentationMaker : Graphic Design Archive module 3.2 /." Online version of thesis, 1992. http://hdl.handle.net/1850/11072.
Pełny tekst źródła
4
Hansen, Bret. "Graphic Design as Projection." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2117.
Pełny tekst źródłaStreszczenie:
I imagined a world where designing is projecting and where the entire design field is called projection. My research into what it means to be a projector culminates in a participatory creative project that embodies concepts of projection taken from a range of disparate subjects.
5
Hunter, Darrin S. "Regionalism in Graphic Design." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367928330.
Pełny tekst źródła
6
Юрченко, Д. В. "Color in graphic design." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10806.
Pełny tekst źródła
7
Yurchenko, Daryna. "Contrast in graphic design." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13186.
Pełny tekst źródła
8
Пугачова, Анна Олегівна. "Rules for graphic design." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15355.
Pełny tekst źródła
9
Plouffe, Danielle Grace. "Graphic design career information /." Online version of thesis, 1993. http://hdl.handle.net/1850/11960.
Pełny tekst źródła
10
Barbieri, Chiara. "Graphic design and graphic designers in Milan, 1930s to 1960s." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2816/.
Pełny tekst źródłaStreszczenie:
Graphic design holds a marginal position in the Italian design historiography in relation to industrial design. Often written by and for graphic designers, histories have tended to concentrate on changes in graphic styles as exemplified in works by prominent designers or the visual communication strategies of major companies. By contrast, this thesis addresses the organisation of the graphic design profession in Milan, from the interwar period to the mid-1960s. Key aspects explored include: graphic design’s mutable meanings and practices; formal and informal educational practices; graphic designers’self-identification with a new profession; and the structures they created to organise and make their practice visible. A focus on dialogue and negotiation between different interest groups stresses the relational and contingent nature of design professions. The thesis asks whether Milan’s graphic practitioners capitalised on modernist ideas such as standardisation, universalism, objectivity and functionalism to distance themselves from graphic arts and advertising, and enable re-categorisation within design. Thus, it problematises the relationship between professionalisation and international modernism, within the specific context of industrial structures in Milan and the hierarchy of design practice in twentieth-century Italy more broadly. The thesis provides an original retelling of stories often taken for granted, and looks behind individual designers and big companies to uncover overlooked narratives. Five chapters addressing the Scuola del Libro and the Cooperativa Rinascita in Milan, the ISIA in Monza, the Milan Triennale, the Studio Boggeri and the associations AIAP and ADI draw attention to educational issues, design practice, professional organisations, networks and mediating channels that have defined, legitimised, represented, advanced, contrasted, and articulated the graphic design profession in Milan. The argument is built on close scrutiny of archival material and other primary sources, including extensive visual material and oral interviews. Methodologies derive principally from history of design and visual culture, and place great emphasis on visual analysis. Visual artefacts are approached both as visual expressions of design methodologies and aesthetic principles and, drawing on actor-network-theory, as three-dimensional actors that interact with people and other artefacts. Despite focusing on the local, the thesis draws on global design history as a methodology by taking into account the dynamic and multi-directional movement of people, ideas, and artefacts within transnational circuits. Building on sociological stances, it approaches professions as socially constructed concepts and argues that professional identities are constantly in formation and require continual adaptation to shifting environments, agendas and design discourses. The thesis aims to offer neither a comprehensive history of Italian graphic design nor a final assessment of its professionalisation. Rather, it prioritises the process of professionalisation, by stressing tensions and contradictions, and by following practitioners’ struggle to articulate what graphic design is. The originality and potential impact of the thesis lie in its endeavour to present a closely-articulated history of the graphic design profession in Milan that draws attention to economic, industrial, political, social and technological contexts, and to propose this as a template for the writing of graphic design history. Furthermore, it provides a historically-integrated, archive-based, outward-looking model for graphic design history as an integral part of the history of design.
11
Puhachova, Anna, and L. V. Roienko. "Is graphic design art or science?" Thesis, Наукова платформа Open Science Laboratory, 2020. https://er.knutd.edu.ua/handle/123456789/16302.
Pełny tekst źródłaStreszczenie:
У статті розглядаються основні аспекти та сфери застосування графічного дизайну.<br>Graphic design is described as the process of visual communication and problem-solving through the use of typography, photography, iconography and illustration.
12
Tedeschi, Carla. "Design theory and methodology /." Online version of thesis, 1992. http://hdl.handle.net/1850/11771.
Pełny tekst źródła
13
Britt, Cathleen. "Interactive interface design : Graphic Design Archive phototype 2.0 /." Online version of thesis, 1989. http://hdl.handle.net/1850/11542.
Pełny tekst źródła
14
Corbo-Hudak, Neva. "User considerations in graphic design /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1111.
Pełny tekst źródła
15
Owens, Sarah Teresa. "Design is ordinary : lay graphic communication and its relation to professional graphic design practice." Thesis, University of Reading, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.655747.
Pełny tekst źródła
16
Hayward, Ken. "Navigational tool for the Graphic Design Archive /." Online version of thesis, 1989. http://hdl.handle.net/1850/10847.
Pełny tekst źródła
17
Valtersson, Sofia, and Anna Matsson. "Corporate identity through graphic design." Thesis, Högskolan Dalarna, Grafisk teknik, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3561.
Pełny tekst źródłaStreszczenie:
The degree project has been implemented abroad in Brisbane, Australia. A literature study has beenperformed parallel to the practical work within the subject »Corporate identity through graphicaldesign«. In this study deeper research has been made concerning the establishment and manifestationof a corporate identity and its program. The knowledge given from this study has been put into practicethrough two larger projects.The first project was carried out at De Pasquale, advertising agency in Brisbane, where a corporateidentity program was designed for a new company. The company is a fitness centre, called KnockoutFitness, which specializes in different types of boxing training sessions such as Boxing, Thai Bow andBoxercise but also Aqua aerobics. They needed a full corporate identity program including a logotype,business card, letter paper-paper and address labels.The second project was carried out at Queensland University of Technology in Brisbane. A promotioncampaign was designed for the Department of Visual Arts, which included two information folders andone advertisement. The purpose of the campaign was to promote both the undergraduate and postgraduatecourses offered within the department.
18
Jägerholm, Petra, and Lovisa Rönngren. "Anti-aesthetics in graphic design." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130012.
Pełny tekst źródłaStreszczenie:
Syftet med denna studie är att diskutera och problematisera anti-estetisk design och undersöka vilken funktion den har idag. Denna uppsats bygger på en bred bakgrund om fulhet och skönhet, om olika anti-estetiska och kritiska rörelser genom historien och teorier så som kritisk design, normkritik och feminism. Information har insamlats genom en kritisk granskning av tre nummer av tidskriften Bang, analys av offentliga uttalanden om och av Bang och Bastion, samt intervjuer med formgivaren Sepidar Hosseini och tio designstudenter. Metoden kvalitativ ansats användes i studien och induktiv samt deduktiv analys av intervjuerna utfördes. I analysen undersöktes hur avvikande designelement kunde bidra till att kritisera normen med hjälp av etablerade teorier, uttalanden från Bastion och kommentarer från Hosseini och designstudenter. Resultatet av denna studie skall visa på ett alternativt perspektiv på design och diskutera vilken tillämpning den kan ha idag. Anti-estetisk design kan anses ha funktionen att skapa rum för det som inte passar in i det rådande idealet och fungera som grogrund för vidare diskussion om samhällets normer.
19
Olatidoye, Olugbemiga A. "Design-oriented graphic-user-interface." Diss., Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23110.
Pełny tekst źródła
20
JUNIOR, LICINIO NASCIMENTO DE ALMEIDA. "CONJECTURES FOR RHETORIC [GRAPHIC] DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13975@1.
Pełny tekst źródłaStreszczenie:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>O Design evidencia-se como uma atividade projetual de elementos voltados
à reprodução. As modalidades produtivas dessa atividade são consolidadas,
sobretudo, pela manipulação de imagens. A concretização perceptível e decifrável
dessas imagens pressupõe a efetivação de uma semiose que, ao possibilitar
significações, cria enunciações. Ao visar a adesão de um público/auditório, essas
enunciações entrelaçam-se em um sistema retórico que, fundamentado nos
cânones da Retórica Aristotélica, centra-se num etos, num patos e num logos,
como formas de argumentações persuasivas. Revela-se, então, uma intrigante,
ou pelo menos sedutora, relação entre a Retórica e a Imagem. Ao confrontar a
ideia dessa relação com os atributos engendrados pelos produtos do Design,
vislumbra-se a manifestação de uma Retórica do Design. Baseando-se no Tratado
da argumentação, de Chaïm Perelman, em que à Retórica é credenciada sua
renovação, esta Tese faz uma abordagem reflexiva sobre a contribuição da
Retórica para uma Teoria do Design. Como a atuação do Design abarca um vasto
campo exploratório, selecionou-se uma modalidade específica para o estudo, o
Design Gráfico. Pressupôs-se a existência de uma Retórica inerente à natureza do
Design Gráfico. Foram tomados, como caso exemplar, projetos gráficos de capas
das principais revistas noticiosas brasileiras. Como resultado, chegou-se a um
conjunto de pressupostos teóricos balizadores para uma Retórica do Design
Gráfico e ao reconhecimento da pertinência da imbricação entre Design Gráfico e
Retórica na construção e delineamento de uma Teoria do Design. Por fim, foi
cogitada a possibilidade de evidenciar propósitos ideológicos em projetos
gráficos, por meio de análise retórica.<br>Design is expressed as an activity involving the projection of elements
related to reproduction. Productive types of this activity are consolidated,
especially, by the manipulation of images. The concrete and decipherable
perception of these images presupposes the use of semiotics to enable meaning
and create pronouncements. To hold a public or an audience, these
pronouncements are interwoven within a system of rhetoric based on the inclusion
of Aristotelian Rhetoric and based on an ethos, a pathos and a logos, as forms of
persuasive arguments. It is then manifested as a stimulating or at least seductive
relationship between Rhetoric and Image. When comparing the idea of this
relationship with the attributes engendered by the products of Design, an
expression of a Design Rhetoric can be seen. Based on Chaïm Perelman’s
Treatise on argumentation in which Rhetoric is the foundation of its renovation,
this Theory creates a reflective approach regarding the contribution of Rhetoric
toward a Theory of Design. Since the purpose of Design encompasses a vast
exploratory field, a specific type has been selected for the study - Graphic Design.
It presupposes the existence of Rhetoric inherent to the nature of Graphic Design.
As a sample case, covers of the Brazilian leading news magazines have been
taken. As a result, a set of delimiting theoretical presuppositions were arrived at
for a Graphic Design Rhetoric and for the recognition of the relevance of the
imbrications of Graphic Design and Rhetoric in the construction and delineation
of a Design Theory. Finally, the possibility of providing evidence of ideological
proposals in graphic projects based on rhetorical analysis was also included.<br>El Diseño se evidencia como una actividad que proyecta elementos
orientados a la reproducción. Las modalidades productivas de esa actividad se
consolidan, sobre todo, por la manipulación de imágenes. La concreción
perceptible y descifrable de esas imágenes presupone la realización de una
semiosis que, al posibilitar significaciones, crea enunciaciones. Al buscar la
adhesión de un público/auditorio, esas enunciaciones se entrelazan en un sistema
retórico que, basado incluso en los cánones de la Retórica Aristotélica, se centra
en un etos, en un patos y en un logos, como formas de argumentación persuasiva.
Se revela, entonces, una intrigante, o al menos seductora, relación entre la
Retórica y la Imagen. Al confrontar la idea de esa relación con los atributos
engendrados por los productos del Diseño, se vislumbra la manifestación de una
Retórica del Diseño. Basándose en el Tratado de la argumentación de Chaïm
Perelman, en el que a la Retórica se le acredita su renovación, esta Tesis realiza un
abordaje reflexivo sobre la contribución de la Retórica a una Teoría del Diseño.
Como la actuación del Diseño abarca un vasto campo exploratorio, se seleccionó
una modalidad específica para el estudio, el Diseño Gráfico. Se presupuso la
existencia de una Retórica inherente a la naturaleza del Diseño Gráfico. Se
tomaron, como caso ejemplar, proyectos gráficos de portadas de las principales
revistas de noticias brasileñas. Como resultado, se llegó a un conjunto de
presupuestos teóricos demarcadores de una Retórica del Diseño Gráfico, y al
reconocimiento de la pertinencia de la imbricación entre Diseño Gráfico y
Retórica en la construcción y delineación de una Teoría del Diseño. Por último, se
trató la posibilidad de evidenciar propósitos ideológicos en proyectos gráficos, por
medio del análisis retórico.<br>Le Design est connu en tant qu`activité projectuelle d`éléments consacrés à la
reproduction. Les modalités productives de cette activité sont consolidées,
notamment par la manipulation d`images. La concrétisation perceptible et
déchiffrable de ces images présuppose la mise en place d une sémiose qui, du fait
de privilégier des significations, crée des énonciations. Lorsqu`elles envisagent
l`adhésion d`un public/assistance, ces énonciations s entrecroisent dans un système
rhétorique qui, basé y compris dans les canons de la Rhétorique Aristotélique, est
centré sur un ethos, un pathos et un logos, en tant que formes d`argumentations
persuasives. Il en ressort alors, une intrigante, ou tout au moins séductrice relation
entre la Rhétorique et l`Image. Une fois confrontée l`idée de cette relation avec les
attributs engendrés par les produits du Design, on envisage la manifestation d une
Rhétorique du Design. Tout en tenant comme base le Traité de l`argumentation de
Chaïm Perelman, selon lequel à la Rhétorique est autorisé son renouvellement,
cette Thèse présente une approche réflexive sur la contribution de la Rhétorique
pour une Théorie du Design. Du fait que l`étendue du Design comprend un vaste
champ exploratoire, une modalité spécifique a été sélectionnée pour l`étude: le
Design Graphique. On a présupposé l existence d une Rhétorique inhérente à la
nature du Design Graphique. En tant que cas exemplaire, des projets graphiques
de couvertures des principaux magazines de nouvelles brésiliennes ont été
considérés. À guise de résultat, nous sommes arrivés à un ensemble de
présupposés théoriques conduisant à une Rhétorique du Design Graphique et à la
reconnaissance de la pertinence de l imbrication entre Design Graphique et
Rhétorique dans la construction et le délinéament d une Théorie du Design.
Finalement, la possibilité de mettre en évidence des propos idéologiques dans des
projets graphiques a été cogitée, au moyen d`analyse rhétorique.
21
Girouard, L. Clay. "Historic graphic design at RIT /." Online version of thesis, 1990. http://hdl.handle.net/1850/10948.
Pełny tekst źródłaStreszczenie:
Thesis (M.F.A.)--Rochester Institute of Technology, 1990.<br>Accompanied by a catalog: An exhibition of historic graphic design from the collections of Rochester Institute of Technology. Typescript. Includes bibliographical references (leaf 99).
22
Crosby, Marianne. "Color psychology and graphic design /." Lynchburg, VA : Liberty University, 2007. http://digitalcommons.liberty.edu.
Pełny tekst źródła
23
Harland, Robert George. "Graphic design as urban design : towards a theory for analysing graphic objects in urban environments." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/12350/.
Pełny tekst źródłaStreszczenie:
This thesis presents a model for analysing the graphic object as urban object, by considering atypical fields of discourse that contribute to the formation of the object domain. The question: what is graphic design as urban design? directs the research through an epistemological design study comprising: an interrogation of graphic design studio practice and the articulation of graphic design research questions; a review and subsequent development of research strategy, design and method towards the articulation of methodology that reflects the nature of the inquiry; a detailed analysis of five different ways to study and research graphic design as urban design, in geography, language, visual communication, art and design, and urban design. The outcome of the investigation is a model that enables future research in the urban environment to benefit from micro-meso-macrographic analysis. The model endeavours to provide a way to evaluate, design and enhance ‘public places and urban spaces’ by considering different scales of symbolic thought and deed. This has been achieved by acknowledging the relationship between the relatively miniscule detail of graphic symbolism, the point at which this becomes visible through increased scale, and the instances when it dominates the urban realm. Examples are considered that show differences between, for example, the size and spacing of letter shapes on a pedestrian sign, compared to the ‘visual’ impact of an iconic building in the cityscape. In between is a myriad of graphic elements that are experienced and designed by many different professional disciplines and occupations. These are evidenced and explained. Throughout the study an indiscriminating literature review is interwoven with the text, accompanied by tabular information, and visual data in the form of photographs and diagrams. This is mainly research-driven data utilising photographs from fieldwork in Brazil, Canada, Hong Kong, Italy, Portugal, South Korea, United Kingdom, and United States of America. The methodology integrates a transdisciplinary adaptive theory approach derived from sociological research, with graphic method (utilising a wider scope of visual data usually associated with graph theory). The following images provide sixteen examples of artefacts representing the graphic object as urban object phenomenon.
24
Mason, Erica. "Unveiling graphic design significance with holistic, human-centred design: Diversifying the role for graphic design among local industry projects." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2025. https://ro.ecu.edu.au/theses/2897.
Pełny tekst źródłaStreszczenie:
The field of graphic design has continually evolved to encompass a wide scope of practices that can be incorporated into all stages of industry projects. Globally, these unique design practices have been recognised for their significance. Their applications to a broad spectrum of large-scale business and community sector initiatives has been widely documented. Research as to how such practices and skills apply in smaller project spaces, however, appears to be missing. Perth, Western Australia, is an isolated city which often does not attract large-scale business projects beyond the mining sector. As a result, graphic design projects based in Perth tend to be smaller in scale and diverse in application. These projects are often driven by specific outcomes, and graphic designers are typically hired by clients at the end stage of business projects to make artefacts, such as websites, business cards or brochures.
IDEO, a design firm at the forefront of design thinking practices internationally, contends that businesses will benefit greatly from integrating design’s core techniques and principles into all aspects of product and service development, as opposed to merely engaging “designers to make an already developed idea more attractive” (Brown & Katz, 2011, p. 381). Service design methods, commonly applied through a holistic interdisciplinary approach, are one way to diversify graphic design skills beyond the production of ephemeral objects. This research looks to explore how these holistic, human-centred service design methods might expand the roles and mindsets of graphic designers and their significance within the context of smaller, localised industry settings common to Perth.
To accomplish this, this thesis employed a range of qualitative methods, including ethnography, autoethnography and practice-led research approaches. The focus of the study was directed upon two graphic design studios in Perth and one service design studio in Melbourne, to establish an overview of the prevailing graphic design methodologies being used in local industry projects and determine whether creative practices undergo significant transformations after the integration of holistic, human-centred design processes - as are common in design thinking and service design methodologies.The study found that local graphic designers desire and need to change their practices to embrace a more holistic view of design. This view looks to place graphic designers among decision making from the beginning of any design project. It requires that design processes are put before designing artefacts, design methodologies before design methods, and investment in design instead of project-based contracts. It is within this proposed way of working that local graphic designers can gain greater significance for their discipline while engaging in project work that is more satisfying for themselves and more impactful for their clients, design users and society itself.
25
Smith, Cynthia S. "The interactive orientation module for the electronic archive resource of the National Graphic Design Archive /." Online version of thesis, 1992. http://hdl.handle.net/1850/11677.
Pełny tekst źródła
26
Kuhn, Simon. "Critical design within the practice of graphic design." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1007843.
Pełny tekst źródłaStreszczenie:
Critical Design is a specific type of design activity that has emerged from within the field of product design. Based on the supposition that design is an ideological activity, it can either be critical or affirmative of the status quo and categorised as Critical Design or Affirmative Design. The intention of this study is to create Critical Design within the practice of graphic design. Critical Design was defined by identifying its key characteristics and then visualised into a diagram that maps the pathways, processes and consequences which distinguish Critical Design from Affirmative Design. The characteristics were used to generate criteria of Critical Design, which were then used to analyse case studies. The findings from this analysis suggested that both case study projects could be defined as Critical Design and served as a way of testing the appropriateness of the criteria. The practical component of this study used the characteristics of Critical Design to create a range of graphic design artefacts and then analysed them in relation to the criteria of Critical Design. The findings from this analysis determined the practical component as Critical [Graphic] Design and suggested that graphic design can be an appropriate medium for critique of its own role within society.
27
Snape, Jason J. "Humor as an element in graphic design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11218.
Pełny tekst źródła
28
Wenzel, George C. "Experimental graphic design : Lester Beall/SITE /." Online version of thesis, 1989. http://hdl.handle.net/1850/11468.
Pełny tekst źródła
29
Lee, Mindy. "A graphic design curriculum development project." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1569031.
Pełny tekst źródłaStreszczenie:
<p> Examining the design education climate of Los Angeles results in finding a broken art education system and misconceived notions about graphic design. The struggle to implement design education into the lives of high school students leads to some students who have access to art classes with an emphasis on technical digital art and some students who have never taken an art or design class. This project is the work of bringing design education to students in the Los Angeles area. This design curriculum was created to promote creative process, problem solving, play and experimentation, and a deeper understanding of the use of graphic design as a communication tool. This curriculum was implemented at the High School Institutes at Inner-City Arts, a nonprofit that provides free arts education to thousands of youth in Los Angeles.</p>
30
VELASCO, MATEU. "WHEN STREET ART BECOMES GRAPHIC DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24699@1.
Pełny tekst źródłaStreszczenie:
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>O objetivo deste trabalho é fazer uma análise da influência e uso do design gráfico em alguns dos projetos desenvolvidos no movimento de arte urbana dos últimos dez anos.
Este estudo possibilitou gerar material de pesquisa sobre a arte urbana para futuros trabalhos que conectem arte de rua e o design gráfico, assim como identificar como estes artistas incorporam conceitos do design em seus projetos. A partir deste levantamento foi possível observar ainda de que forma esta prática contribuiu para a propagação do movimento artístico e vice versa.
Para que a proposta do estudo fosse alcançada foi feito um levantamento histórico das origens do movimento artístico urbano e uma pesquisa de campo para compreender o estágio atual da arte de rua. Foi ainda realizado um estudo de caso do cartaz criado por Shepard Fairey para a campanha presidencial dos Estados Unidos para exemplificar uma das formas em que o design gráfico dialoga estreitamente com a street art, confirmando assim a conexão entre ambas as práticas.<br>The objective of this study is to analyze the influence and use of graphic design in some of the projects developed in the urban art movement of the last ten years.This study enabled us to generate research material on urban art for future studies that connect street art and graphic design, as well as identify how these artists incorporate design concepts in their designs. From this survey it was also possible to observe how this practice has contributed to the spread of the artistic movement and vice versa. For that the purpose of the study was achieved was made a historical survey of the origins of the urban art movement and field research to understand the current state of street art. It also conducted a case study of a poster created by Shepard Fairey for the U.S. presidential campaign to illustrate one of the ways in which graphic design dialogues closely with street art, thus confirming the connection between both practices.
31
LaMarca, David J. "Graphic Design Archive : Lester Beall collection /." Online version of thesis, 1990. http://hdl.handle.net/1850/11299.
Pełny tekst źródła
32
Neff, Mary Kay. "Educational/informational posters on graphic design /." Online version of thesis, 1987. http://hdl.handle.net/1850/10325.
Pełny tekst źródła
33
Viseshsin, Jongruja Mai. "The multiple dimensions of graphic design /." Online version of thesis, 1992. http://hdl.handle.net/1850/11629.
Pełny tekst źródła
34
Stacy, Michelle A. "Graphic design and the unconscious codes /." Online version of thesis, 1992. http://hdl.handle.net/1850/11761.
Pełny tekst źródła
35
Zalewski, Sondra. "Design, graphic arts, and the environment /." Online version of thesis, 1994. http://hdl.handle.net/1850/12205.
Pełny tekst źródła
36
Hu, Marina <1995>. "Tecniche di progettazione del Graphic Design." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18957.
Pełny tekst źródłaStreszczenie:
Il presente lavoro di tesi consiste in un repertorio terminografico che analizza i principali lemmi utilizzati nell’ambito della progettazione grafica e si pone come finalità quella di arricchire la banca dati terminologica TERMit, ideata e sviluppata dalla SSLMIT, Università di Trieste.
L’elaborato è composto da due parti.
La prima parte, a carattere introduttivo, è suddivisa in tre capitoli. Il primo capitolo descrive l’evoluzione storica della grafica moderna in Occidente, con un’analisi dei principali movimenti artistici che ne hanno favorito la nascita e lo sviluppo. Il secondo capitolo approfondisce lo sviluppo della grafica in Cina e fornisce un’analisi dei caratteri che lo distinguono nel panorama internazionale contemporaneo. La terza parte analizza gli aspetti più tecnici del settore e nello specifico illustra i principi e i metodi di progettazione grafica.
La seconda parte, fulcro del mio intenso lavoro di ricerca, consiste nel repertorio terminografico in italiano e in cinese di termini tecnici utilizzati nella progettazione grafica. Realizzato seguendo il formato proposto dal progetto TERMit, il repertorio si compone di schede terminografiche e schede bibliografiche, a cui seguono due glossari, cinese-italiano e italiano-cinese, per la consultazione rapida dei temini analizzati nelle schede.
37
Ishizaki, Suguru. "Example-based graphical programming : an approach for graphic design in electronic media." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/67379.
Pełny tekst źródła
38
Bruzzese, Roberto, and info@robertobruzzese com. "Teaching Teachers: Learning through Graphic Literacy." RMIT University. Media and Communication, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091028.123950.
Pełny tekst źródłaStreszczenie:
Graphic design education has a long history of practitioners leading the development of teaching environments. While these practitioners may develop innovative teaching methods during their educational career, many will never engage with the discipline and literature of pedagogy. Ramsden (2003) asserts that pedagogical principles can help create deeper teaching/learning environments, but this research is all too often disseminated in a lexicon that is not familiar to new graphic design teachers. The research just does not get the message across to those who could benefit most from it. Although graphic design has had difficulties in translating the pedagogical lexicon to its context, it could use its expertise in the visual language to help create a broader understanding of teaching and learning theories and principles for itself and others. The very visual communication skills that we teach could be a more effective way to communicate to educators the necessary pedagogical theory that is to be used in the classroom. This exegesis documents my exploration of pedagogical awareness in graphic design education and how graphic literacy can facilitate this awareness. Through a reflective practice of reading, designing, teaching and conversation, I have uncovered my perceptions and conceptions as a teacher and discovered how some pedagogical principles can help the teaching and learning environment. I have used this knowledge to create an awareness of these principles through the comic language.
39
SÁNCHEZ, JOSÉ JAIRO URBINA. "THE GRAPHIC DESIGN ON THE TEXTBOOK GRAPHIC DESIGN IN RURAL EDUCATION PROGRAM (PER) FOR CHILDREN OF COLOMBIA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34354@1.
Pełny tekst źródłaStreszczenie:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>O livro didático impresso é usado diariamente em escolas de todo o mundo mesmo com o surgimento do livro didático eletrônico. Isso se mantêm apesar de pesquisas que anteciparam a sua morte. O designer está presente na realização de livros didáticos, atuando junto a outros agentes, principalmente na criação de uma interface entre o autor e o leitor. O designer se torna, portanto, um agente mediador e catalisador da leitura na produção de sentidos do livro. Na Colômbia, o Projeto de Educação Rural (PER) desenvolveu conteúdo didático para a educação de crianças da zona rural, para os suportes livros didáticos impressos e digitais. Nesta dissertação, procura-se analisar o design gráfico utilizado no suporte impresso produzido para o segmento educação fundamental. Parte-se do pressuposto de que é incompatível a inter-relação entre o conteúdo imagético e os projetos gráficos adotados, pois eles desconsideram as competência e habilidades da população infantil da zona rural existentes e demandadas pelo segmento educação fundamental ao estabelecerem parâmetros para a inserção de elementos imagéticos e para a inter-relação entre esses elementos e o conteúdo verbal. Parte-se do pressuposto também que os professores, que deveriam atuar como agentes mediadores e catalisadores da leitura, não têm desenvolvidas, em suas formações, habilidades e competências para entender o design como interface entre o conteúdo e a criança. Entende-se que os problemas interferem no ensino-aprendizagem e aumentam o hiato entre a Educação na zona rural e na zona urbana da Colômbia. Visa-se assim contribuir para a diminuição da discriminação e exclusão das comunidades da zona rural, a partir da reflexão sobre os lugares do design gráfico no livro didático destinado a comunidades específicas.<br>The printed textbook is used daily in schools around the world even with the emergence of the electronic textbook. That they remain despite research that anticipated his death. The designer is present in making textbooks, working with other agents, especially in creating an interface between the author and the reader. The designer becomes therefore a mediator agent and a catalyst in the reading of the production of sense of the book. In Colombia, the Rural Education Project (PER) developed educational content for the education of rural children to the media printed and digital textbooks. This dissertation seeks to analyze the graphic design used in both digital format and in print produced for the primary education sector. This is on the assumption that the interrelationship between the imagistic content is incompatible, the graphic designs adopted disregard the competence and skills of the child population of existing rural and demanded by the education segment essential to establish parameters for the inclusion of pictorial elements and to the interrelationship between these elements and the verbal content. This is on the assumption also that teachers, who should act as mediators and catalysts agents of reading, have not developed in their training, skills and expertise to understand the design as an interface between the content and the child. It is understood that the problems occur in both media, which compromises the teaching-learning and increases the gap between education in rural and urban area of Colombia. The aim is to contribute to the reduction of discrimination and exclusion of communities and gender of the countryside, from the reflection about the places of the graphic design in the textbook aimed at specific communities.
40
Jeffries, Karl K. "Skills for creativity in graphic design : testing the relationship between visualisation, written comprehension, and graphic design creativity." Thesis, Open University, 2017. http://oro.open.ac.uk/50274/.
Pełny tekst źródłaStreszczenie:
This thesis explores the relationship between skills, creativity and domain. It is situated within an evolving topic of design creativity; an emerging field that interfaces between creativity research, which has often occurred in the field of psychology, and design research often associated with the fields of engineering, art and design. Through five interconnected studies, and the domain of graphic design as the basis for experimentation, the research culminates in testing the relationship between creative output and skills considered important for competent performance in graphic design. How to assess graphic design creativity in a manner credible to both the creativity research and design research community has been a core challenge for this thesis. The method selected - the Consensual Assessment Technique (CAT) - before this thesis had yet to be used as a reliable measure of graphic design creativity in experimental research. For this reason, three of the studies were directed at establishing the reliability of the CAT. • One undertook the first systematic literature review of the CAT in design research; • a second tested the assumption that a graphic design CAT would show acceptable levels of inter-rater reliability (as researchers had found in other domains of design); • a third focused on optimising the CAT to measure graphic design creativity. Additionally, given the wide range of graphic design competencies available, a conceptual framework was developed to prioritise those most important, and suitable, for experimental study. Two were identified (mental visualisation, and written comprehension) and each was tested for its relationship to graphic design creativity. Where other researchers have suggested or found a relationship, in this study, no significant correlations could be evidenced for either mental visualisation or written comprehension with creative output. Such a finding is likely counter-intuitive to many in art and design, thus, the implications of this study impact upon debates within design creativity research, design education, and graduate skill gaps for the Creative Industries.
41
FAORO, STEFANO. "Graphic designer senza committenti." Doctoral thesis, Università IUAV di Venezia, 2021. http://hdl.handle.net/11578/306138.
Pełny tekst źródłaStreszczenie:
La ricerca mette in luce caratteri e specificità del fenomeno del self-initiated project in relazione alle pratiche di graphic design sul territorio italiano.
Per self-initiated project si intendono tutti quei progetti e artefatti comunicativi che i designer producono, grazie soprattutto alla disponibilità dei mezzi di produzione consentita dal digitale, indipendentemente dall’esistenza una committenza specifica.
La ricerca si concentra su alcuni aspetti, in particolare come questi progetti siano stati inizialmente mezzo di espressione di una forma autoriale di progettazione e come nel tempo propositi simili abbiano lasciato spazio a altre applicazioni per le pratiche self-initiated quali la formazione, la definizione di un proprio linguaggio riconoscibile, la ricerca di lavoro.
Dall’analisi della letteratura esistente sull’argomento emerge la necessità di rileggere questo fenomeno dal punto di vista storico, pur trattandosi di una storia relativamente recente, e metterlo in relazione con la condizione contemporanea della professione del progettista grafico.
La ricerca si sviluppa ripercorrendo esperienze progettuali e discorsi critici sul fenomeno, a partire dagli anni della cosiddetta rivoluzione digitale, arrivando fino alla contemporaneità.
Si ritiene importante approfondire questo fenomeno per capire come un ambito professionale inizialmente marginale e dedicato a episodi di progettazione puntuali e sperimentali sia in realtà diventato strumento fondamentale della formazione e della pratica lavorativa dei progettisti grafici contemporanei.
Obbiettivo del progetto di tesi è stato dunque approfondire la storia e la condizione contemporanea del progetto self-initiated nel panorama del graphic design italiano al fine di comprenderne punti di forza e criticità e per poter immaginare una possibile evoluzione di un aspetto così diffuso del progettare.
42
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.
Pełny tekst źródłaStreszczenie:
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.
43
Park, Yaeyoung. "Finding Unfound_Graphic Hybridity." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3854.
Pełny tekst źródłaStreszczenie:
Hybridity is the result when visual form, color or tools interact. While not every combination of multiple elements result in success, I believe creativity, intuition and serendipity determines the successful hybridity. This is the documentation of my journey to develop a personal definition of successful hybridity in graphic design.
44
Carlson, Raymond V. "Interactive magazine design /." Online version of thesis, 1992. http://hdl.handle.net/1850/11648.
Pełny tekst źródła
45
Wu, Diing-Wuu Vale. "Introduction to fractal by using interactive media design /." Online version of thesis, 1991. http://hdl.handle.net/1850/11287.
Pełny tekst źródła
46
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/.
Pełny tekst źródłaStreszczenie:
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.
47
wills, Alexandra. "Sleep Paralysis: An Artist's Best Nightmare." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/605.
Pełny tekst źródłaStreszczenie:
Sleep paralysis is a condition in which the REM sleep in an individual fails to disengage after they awaken. This leads to full body paralysis, during which vivid and often terrifying hallucinations occur. I myself suffer from sleep paralysis. That being said, I have always been intrigued by the concept of exploring serious topics through the use of comedy. In essence, that is what my project is about. I wanted to make light of sleep paralysis. By doing so, I hoped to deescalate the terror in the mind of the sufferer. Comedy is possibly the most effective method I have in my arsenal, as I have found that it has helped me to overcome my own issues with the condition. I have attempted to create a source of information for my fellow sufferers that is both informative and non-threateningly simple in its delivery of the information. To summarize, this project was to give people like me something that I never had access to when I first developed the condition and was severely unprepared for dealing with it. I aim to be an artist that is both humorous and helpful in everything that I do, and it is my hope that I was able to succeed in this task.
48
Hollinger, Wendy Allyn. "Market Segmentation for the Field of Graphic Design." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1419263208.
Pełny tekst źródła
49
Baker, Leuan Zumwalt. "Susan B. Anthony House graphic design program /." Online version of thesis, 1989. http://hdl.handle.net/1850/10900.
Pełny tekst źródła
50
Wicomb, Samuel Domingo. "Graphic design students’ perceptions of work practice." Thesis, Cape Peninsula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2391.
Pełny tekst źródłaStreszczenie:
Thesis (MTech (Graphic Design))--Cape Peninsula University of Technology, 2016.<br>The aim of this study was to examine how students experience the transition
from the classroom to the workplace. This research explored what factors
students found problematic and which factors was helpful during the transition.
This research was qualitative and this study focused on the experiences of the
participants and all data was collected from their perception of work practice. I
used Activity Theory as a theoretical framework to compile and organize
relevant data. Data was gathered using video recordings, hand written journal entries and
individual interviews. The research was conducted in an on-campus design
studio that is situated within the Design Faculty at Cape Peninsula University of
Technology. The reason for choosing Design Logic as a site is the following;
the studio sits neatly between the classroom and the workplace, although the
studio is in a protected environment, most of the elements that are present in a
real world setup is reflected within Design Logic i.e. the stresses of satisfying
demanding clients, working with budgets, liaising with suppliers and the ever
present looming deadlines all form part of the daily make-up of Design Logic. Although the starting point of the study was to search for the problem areas
of the student’s transition into the work place, the analyzed data revealed the
dissimilarities between the two systems and how the participants overcame
the difference i.e. shifting identities and rules and norms to develop new skills
suited for the work place. The workspace opened a Zone of Proximal
Development (ZPD) and highlighted the value and importance of work practice
in preparation of graduates for industry.