A presente pesquisa tem como objetivo principal, o estudo de possibilidades sinestésicas no design gráfico. Analisar diferentes técnicas gráficas e estímulos visuais que remetam ou estimulem os diferentes sentidos humanos. Compreender melhor as relações entre os signos visuais com os signos dos demais sentidos: sonoros, táteis, olfativos e gustativos, observando possíveis relações de correspondência entre os mesmos e refletindo sobre sua contribuição no processo de comunicação. Dentro de cada relação, são apresentadas as relações sinestésicas encontradas por pesquisadores diversos, resultantes de estudos relacionados principalmente a psicodinâmica das cores, psicologia da forma e gestalt, agrupados por suas relações com cores, formas, texturas e relações espaciais. As relações sinestésicas encontradas servem como parâmetros principais para a análise de diferentes peças gráficas de produção recente, como: cartazes, embalagens e capas de livro, entre outros. Tendo em vista o grande crescimento de informações a que somos submetidos, das mídias disponíveis, do mercado e da população em geral, nota-se a necessidade de projetos cada vez mais instigantes, eficientes e preocupados com as necessidades de cada mercado. Esta pesquisa visa contribuir na determinação de recursos que permitam suprir tais necessidades...
Esta tese é um panorama da história gráfica brasileira de 1837 até 1931, visto pela ótica da representação cômica, do design gráfico e da mentalidade. A idéia principal foi partir de um plano geral para encontrar na década de 1920 a obra conjunta do humorista Aparício Torelly, o Barão de Itararé, e do artista gráfico paraguaio Andrés Guevara. Passando pelos autores mais relevantes deste período, a inspiração rizomática é a própria cronologia, onde os assuntos relacionados a humor, design e mentalidade trepidam e se desdobram em conexões pertinentes e interessantes para o próprio tema. A tese foi concebida em três partes, a saber: A primeira versa sobre o objeto de conhecimento, objeto de estudo, metodologias e fontes; assim como fala brevemente sobre os autores principais Barão & Guevara , mote da estratégia de abordagem do assunto. A segunda parte destrincha os antecedentes históricos sob as óticas propostas através de uma amostragem de fontes primárias (imagens & autores) em contraponto com trechos de importantes fontes secundárias, costurado com comentários que vão propondo novas interpretações e olhares para os mesmos temas e objetos, sem aplicação de juízos de valor, mas apenas mostrando que foi assim que as coisas se passaram. A terceira parte está focada na década de 1920...
A partir da análise dos trabalhos do departamento de design da Cranbrook Academy of Art, durante o período coordenado por Katherine McCoy (1971 a 1995), este trabalho procura identificar os novos caminhos desenvolvidos pela escola para a prática do design gráfico contemporâneo, e em especial a concepção do design como parte do processo de comunicação. O design até os anos 1970 era regido por pressupostos formais, funcionais e neutros, o que talvez não permitisse entendê-lo como linguagem visual, em si, mas como mero suporte para o texto. Na escola, a abordagem funcionalista foi questionada nos anos 1970 e, a partir daí, nos anos 1980, inspirados por conceitos teóricos do pós-estruturalismo e pós-modernismo, foram introduzidas novas ideias a fim de legitimar o designer também como produtor de conteúdo. Ao buscar referências teóricas no pós-estruturalismo, percebeu-se a importância do receptor na interpretação da mensagem, assim como a necessidade de se produzir peças gráficas que encorajassem, a partir da relação do conteúdo com a forma gráfica, a participação do público. A escola, de modestas proporções, cuja média era a de 8 alunos ingressantes por ano, era baseada no ensino em estúdio, não possuía grade curricular fixa...
Criatividade no uso de recursos de impressão, reprodução, gravação, acabamento gráficos, editorial, encadernação e materiais, em design gráfico, denominados processos, é o tema desta pesquisa. A investigação procede de projetos resultantes da prática disciplinar e é documentada por imagem, fotografias, para ciência visual. Estudos técnico, formal (relativo à forma) e projetual investigam relações entre processo e forma, resultando em um repertório de parâmetros e possibilidades. Forma pura é gráfica e a construída, matéria conformada por processos, meios de produção pelos quais se trabalha forma. Conhecimentos de processos são recursos de projeto, e apropriações criativas destes, qualificam um bom design; Creativity in the use of printing, reproduction, engraving, graphic finishings, editorial, binding and material resources in graphic design, denominated processes, is the theme of this research. The investigation is originated by projects, product of disciplinary practice, and is documented by image, for visual science. Technical, formal (related to form), and project studies explore relationships between process and form, resulting in a repertoire of parameters and possibilities. Pure form is graphic and constructed form...
Até o final da década de 1980 sistemas computadorizados eram usados apenas na indústria gráfica. Poucos designers tinham acesso direto a essa tecnologia e o conhecimento sobre o assunto era escasso. Além da falta de informação, o governo brasileiro restringiu a importação de computadores estrangeiros limitando as opções para se trabalhar com essa nova ferramenta. É nesse contexto que o computador pessoal se tornou a ferramenta principal no campo do design gráfico. Esta pesquisa tem como objetivo o estudo da introdução do computador como ferramenta de trabalho nos escritórios de design gráfico em São Paulo. Uma investigação sobre a época em que os designers gráficos começaram a substituir seu método de trabalho. A partir de entrevistas feitas com profissionais atuantes em escritórios de design gráfico em meados de 1980 e análise de reportagens de jornais e revistas desse mesmo período, pretende-se resgatar a memória de uma mudança radical no modo de trabalho dos designers e mostrar as transformações, as dificuldades e as recompensas que as mudanças trazidas pela nova ferramenta proporcionaram ao campo do design gráfico.; Until the end of 1980s computerized systems were only used in the graphic industry. Few designers had direct access to this technology and the knowledge about the subject was scarce. Besides the lack of information...
This is the final version of the article. It first appeared from Elsevier via http://dx.doi.org/10.1016/j.destud.2015.07.003; It is essential that graphic design is visually clear and accessible. However, evidence suggests that a lack of consideration is given to visual accessibility in print-based graphic design. Furthermore, effective client-designer communication is a vital component in this. This paper investigates current graphic design practice, with regard to visual accessibility, specifically focussing on client-designer communication. A survey of 122 graphic designers and clients identified that these two groups may not be communicating with each other effectively with regard to visual accessibility, and that there is a need to develop inclusive design tools to assist them with this. This paper adds a novel contribution to our limited understanding of visual accessibility in the UK?s graphic design industry.; This work was supported by the UK's Engineering and Physical Sciences Research Council (EP/K503009/1).
The topic of Dr. Leslie's role in the history of graphic design was
mentioned by Professor R. Roger Remington in the Spring of my
first year at RIT. I had read brief mentions about Dr. Leslie in
both Nine Pioneers of Graphic Design and Graphic Design In America
and felt this was an interesting topic that deserved more atten
tion. The ultimate decision to research and write about Dr. Robert
L. Leslie came about due to my interest in both design history
and the field of printing. I had been introduced to the history of
printing in David Pankow's class, "History of the Book,"
wanted a chance to forge a link between this discipline and my
own. Dr. Leslie had ties through his role as mentor to graphic
designers and ties to printing through his diligent efforts as an
educator in that field. Researching his Me and contributions
seemed to be a strong bridge between the two disciplines.
I intended to design a series of orientation posters to be used as
educational/informational aids in the study of graphic design.
These posters might deal with the following topics:
-introduction to graphic design
-tools of graphic design
-history of graphic design
-organizational and perceptual principles
-applications of graphic design
Most architects and urban designers are challenged to design schemas and structures to create a particular experience and sense of place. It is through the manipulation and design of actual three-dimensional spaces that they are able to achieve this. How then is a three-dimensional experience of a place conveyed in two dimensions? Distilling an actual experience into a graphic solution can be exceptionally challenging, but graphic designers may need to accomplish this for particular clients. Examining the ideologies and methodologies of architecture and urban design may offer new and thoughtful approaches for graphic interpretations of three-dimensional experiences.
This thesis first examines how a sense of place is created by architecture and urban design solutions through careful considerations related to culture, history, community and environment. The realm of actual places exists in three-dimensions, rather than two-dimensions. However, there are many instances when it is beneficial to distill three-dimensional experiences into two-dimensional formats (i.e. tourism materials, cookbooks, school catalogues) to help visually and verbally summarize and communicate an environment or experience to an audience. This study draws parallels to the field of graphic design from architecture and urban design...
GRAPHIC DESIGN + BIOMIMICRY: Integrating Nature into Modern Design Practices is a thesis that explores how to effectively integrate the methodologies and principles of graphic design and biomimicry. The objective is to create an innovative design process resulting in successful, sustainable and timeless design solutions. This process is meant to remind designers of the benefits nature has to offer in helping us solve many of the problems that society is currently grappling with today. Nature over 3.8 billion years has already used its imaginative prowess to find what works, what is appropriate, and most importantly, what lasts here on Earth.
The final print application acts as a resource guidebook cataloging all of the research, processes, and findings throughout the documentation of this thesis. This includes the indirect method; applying nature's fourteen design principles with the fourteen universal design principles and elements, as well as the direct method of the biomimetic design process; applying the six stages: (1) Defining, (2) Analyzing, (3) Observing, (4) Selecting, (5) Implementing, and (6) Evaluating. Each chapter within the resource guidebook is defined by each stage in the graphic design + biomimicry process. Informational charts...
This thesis project is concerned with experiments in
multiple-dimensional graphic design and has been
addressed to a wide audience of graphic design
professionals who are interested in working with paper
shape and form. Its purpose is to explain how to apply two
and three dimensional design to Gestalt perceptual
principles. A combination between Gestalt perceptual
principles and multiple-dimensional graphic design is
revolutionary for how dimension can change within the
Gestalt perceptual content.
This thesis examines current methods and trends in graphic design education. It focuses on the improvement of graphic design education by helping educators better understand the graphic design discipline, describing important factors in a design education, and the needs of the graphic design student. The focus is on the first year of graphic design study, and includes a sample textbook designed by the thesis author for first-year graphic arts students.
This thesis will explore the increasingly important role played by
graphic design in architecture. Traditionally thought of as a two-dimensional
applied art, graphic design has relevant applications in the
design of places. This is sometimes known as environmental graphic
design. The premise of this investigation is that by extending graphic
design into the world of architecture, both disciplines are strengthened.
Graphic design in an architectural context benefits from a more long-lasting
medium, in material and duration, than its more common forms
in print, film or digital media. Architecture, in its turn, gains another way to
communicate to an audience, one that is more flexible and changeable
than its otherwise static structure would ordinarily permit.
The research component of this thesis will analyze the ways in which
environmental graphic design is similar to and different from
architecture and two-dimensional graphic design. Research will also
show how and why this hybrid is important. It will analyze the ways In
which graphic design in the built environment adds value or interest to
a place, marks territory, acts as ornament, provides identity, and adds
meaning in ways that could not be achieved by architecture or graphic
design alone. It will identify a wide range of applications where this
might be useful.
The application of this thesis study will be a book about the subject
outlined above. This book could be used as a guidebook for teaching
about these disciplines. It could also be used as a reference book for
designers and clients considering the incorporation of graphic design
in an architectural project.
This application will collect and organize information that is currently
The reception of a graphic design solution is greatly affected by the environment in which it is
viewed: the space around it, and how it is approached and accessed. Obviously, the designer
cannot control the specific life experiences that shape a viewer's personal response, or how that
viewer may be situated in a broader, cultural context. Designers often have at least some degree of
control over contextual factors that contribute to the message-making potential of a graphic design
solution, as well as the form the solution takes, and how it is presented to an audience.
When carefully constructed, content, application, display and context can work harmoniously
together to effectively relay the intended message to a viewer (i.e., congruence). Conversely,
planned incongruence between context, presentation and form can also be a helpful tool
for designers: incongruence has the power to draw viewer attention, promote closer inspection
or conversation, and provide a strategy for extending the message to alternative audiences.
Graphic design, environmental graphic design, museum, gallery and exhibition studies, interior
design and site-specific art take context into account as a primary concern from the upfront
conceptual and material processes to final form and presentation stages. This thesis study
examines context across disciplines...
In American Sign Language (ASL), variables of communication such as volume, tone, emotion, and emphasis are represented through the deliberate use of these variables which include: handshape, location of the sign in proximity to the human body, movement, direction, and repetition. ASL imposes strict rules of how and when to use each of these variables. Together, the rules and variables create a language of communication that is of equal value to spoken language. Similarly, these attributes currently exist in graphic design message making. The alternation of one or all variables in design can also result in an entirely new idea. By comparing how these variables are used in both ASL and graphic design, differences in execution will provide a new opportunity to further implement ASL as an influence on a design solution for the deaf and hard of hearing.
This thesis shows how essentials of ASL can be studied and translated to use as new influences on graphic design problem-solving. This approach will focus on design problem-solving for deaf and hard of hearing audiences by identifying specific situations in which intended communication is often unclear or misunderstood. Ideally, hearing audiences will also benefit from these new approaches. Final applications were placed in the local airport...
Today, we are surrounded by web media. With new technologies, web design has been advancing
day by day. The web industry continues to expand in its commercial use. As a result, designing
web graphics is an essential part of graphic design. As a computer graphics designer, it is natural
to study web design to develop good design skills.
For my thesis, I wanted to research good design solutions for web graphics and make a
prototype from the results. From the research, I wanted to learn the differences and similarities
between printed media and digital media in graphic design using the topic, "The Greatest
Designers in American Graphic Design".
There are two reasons that made me choose my thesis topic. After studying graphic design
as an undergraduate student, I was interested in some of the greatest graphic designers in the
world. The Bauhaus, the Crystal Palace, and many other historical subjects were enough to make
me excited about the subject. The first reason I decided on my thesis subject was to reflect my
interests in the history of graphic design and to learn more about these graphic
and their huge influence on graphic history. The other reason is that there are not enough web sites
about graphic designers or the history of graphic design itself on the Internet for my research. Most
information can be accessed on the Internet but I hardly found any useful web sites about graphic designers. As a result...
Dao has been accumulated for centuries and still remains strong and pertinent to the world today. It is a complex and intriguing philosophy that has many branches and colors. This paper is an analysis of the similarities and differences between the principles held in Daoism and Graphic Design. It is also an interpretation from my personal understanding of both.
The concepts derived from my research are presented through several examples, which included the following design principles: Unity, Nature and Wu Wei. The purpose of this thesis is to serve as
a bridge, which links concepts of graphic design with Daoism.
This project visualizes the main text of Daosim--Daodejing-- and makes this classic literature easier to understand, and to applies the insights form Daoist philosophy to graphic design in order to find new levels of abundance in design solutions. This will allow for young designers to experience the essence of Daosim and experience a new way to approach the design process and understand the potential of good design.
This thesis is formulated especially for those western graphic designers new to the field to experience the essence of Dao and apply it to visual communication solutions. So this thesis is formulated especially for those Western graphic beginners to help them experience the essence of Dao and apply it to graphic designs.
This thesis supports the premise that Ancient Eastern wisdom and Western thought can meet together to break out of old patterns of thinking and behavior to create a new view of design principles and design thinking. Once graphic designers create their own design philosophy...
Graphic design is an integral component of user interface design.
Ubiquitous computing is the a form of computing that is "everywhere
all the time" through technology advances in hardware, software, and
communication networks. Consumers are able to retrieve and send
information whenever a task needs to be completed. Graphic design
is part of the visual mechanism through which people interact with
devices. The visual interactive components of these devices are the
part of computing systems that are addressed in this project.
This thesis addresses the problems that arise when people need to
interact with several devices at a given time. The goal is to make the
experience of an imaging appliance as enjoyable and useful as possible.
Graphic design is the key component in the visual communication
aspect of these devices. The ideas used in the scenarios that are
described in the ideation stage assume that future technologies are
mainstream and used by the mass consumer. Although these assumptions
may or may not come to fruition, graphic design will still be a integral
part of that user experience.
This thesis examines how the futuristic ideas in science fiction literature can be applied to graphic design. The paradigm that creates the connection between mind and emotion in science fiction, such as recurring images, pattern, space and time can be described as signifiers, the triggers of imagination, which can also function in graphic design as object orientation. By combining elements and models within science fiction systems with the theory of perception, a new approach to graphic design problem solving will be created.
User-generated feedback is arguably the most efficient tool to evaluate a specific product or service. Even though it is widely used to evaluate and subsequently improve video game design, it is not commonly used for graphic design applications. The aim of this
thesis is to demonstrate how user-generated feedback can be utilized to improve existing graphic design applications. Specifically, three types of feedback collection vehicles were selected for use in graphic design: personal observation, evaluation polls, and existing
video game design feedback. In order to demonstrate the advantage of using user generated feedback, information collected through the feedback collection vehicles was interpreted and applied to improve the way-finding signage system at Strong Memorial Hospital in Rochester, New York.