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Thematische Bibliographien / Graphic arts / Dissertationen

Dissertationen zum Thema „Graphic arts“

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Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 31. Juli 2024

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1

Ponganutree, Mongkon. „A museum of graphic arts“. Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/722138.

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This is the documentation of my creative project in which the design was a museum of graphic arts with other supporting facilities including a forum, a cafeteria, a library.The project is composed of two major parts. The first one is the research on the contemporary museum design which is the concrete results of the study on current knowledge and interpretation of the orientation and meaning of contemporary museum architecture, together with the research on the theory of point, line, plane- the primary elements of architectural form and space. The second part is a design project, " A Museum of Graphic Arts", which is set up as a framework for the study, theoretical exploration and, the most important of all, as an interpretation of understanding and a synthesis of the research in the first part.
Department of Architecture

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2

Zalewski, Sondra. „Design, graphic arts, and the environment /“. Online version of thesis, 1994. http://hdl.handle.net/1850/12205.

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3

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.

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4

Settergren, Jane Ann. „PresentationMaker : Graphic Design Archive module 3.2 /“. Online version of thesis, 1992. http://hdl.handle.net/1850/11072.

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5

Plouffe, Danielle Grace. „Graphic design career information /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11960.

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6

Santos, Maria João Bom Mendes dos. „O (tipo)grafismo de Sebastião Rodrigues“. Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2002. http://dited.bn.pt:80/29948.

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7

Lobo, Maria Teresa Figueiredo Beco de. „Para o estudo da ilustração e do grafismo em Portugal-publicidade, moda e mobiliário, 1920-1940“. Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1998. http://dited.bn.pt:80/29970.

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8

Rodrigues, Carlos Telo. „Maurício José Sendim-professor e litógrafo (1790-1870)“. Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Letras, 2001. http://dited.bn.pt:80/30126.

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9

Oliveira, Maria Virgínia Correia de. „Le catechisme en images-um instrumento de catequese da segunda metade do século XIX“. Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 1997. http://dited.bn.pt:80/30410.

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10

Snape, Jason J. „Humor as an element in graphic design /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11218.

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11

Tedeschi, Carla. „Design theory and methodology /“. Online version of thesis, 1992. http://hdl.handle.net/1850/11771.

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12

Sisson, Laurel. „Experiential design /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11222.

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13

Figueiredo, Ana Paula Valente. „O espólio artístico das Capelas da Sé de Lisboa-abordagem cripto-histórica“. Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 2000. http://dited.bn.pt:80/29170.

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14

Lee, Mindy. „A graphic design curriculum development project“. Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1569031.

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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.

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15

Hansen, Bret. „Graphic Design as Projection“. VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2117.

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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.

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16

Agoston, Michael P. „Visual organizational systems for the graphic designer : a video tape /“. Online version of thesis, 1987. http://hdl.handle.net/1850/10435.

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17

Neff, Mary Kay. „Educational/informational posters on graphic design /“. Online version of thesis, 1987. http://hdl.handle.net/1850/10325.

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18

Economou, Inge. „Motopomo: the historical-theoretical background to contemporary graphic design practices“. Thesis, Port Elizabeth Technikon, 2005. http://hdl.handle.net/10948/179.

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This study proposes to illustrate that the twentieth century passage from modernity to postmodernity, with its induction of socio-cultural development and attitudinal change, exists as a fundamental means of informing the character of contemporary graphic design practice1. Today, in contrast to the intentions of this study, many appraisals of graphic design work would seem to place too much emphasis on the analyses and evaluation of the stylistic character of creative practices and not enough on the theoretical, historical and attitudinal issues surrounding them. As such, this study attempts to reveal the meaning and moreover the relevance of philosophical, social, cultural and critical theory for contemporary, postmodern graphic design practices. This is done in order to provide graphic designers with a reflective awareness of the structure of the cultural context within which they work, and takes into account twentieth century cultural theory and twentieth century, western graphic design practice, within the framework of the passage from modernity to postmodernity.

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19

Monnier, Antoinette. „The interrelationship of graphic design and fine art /“. Online version of thesis, 1995. http://hdl.handle.net/1850/11969.

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20

Stacy, Michelle A. „Graphic design and the unconscious codes /“. Online version of thesis, 1992. http://hdl.handle.net/1850/11761.

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21

Hayward, Ken. „Navigational tool for the Graphic Design Archive /“. Online version of thesis, 1989. http://hdl.handle.net/1850/10847.

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22

Lee, Dong Hyun. „Effective use of negative space in graphic design /“. Online version of thesis, 2007. http://hdl.handle.net/1850/4625.

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23

Wenzel, George C. „Experimental graphic design : Lester Beall/SITE /“. Online version of thesis, 1989. http://hdl.handle.net/1850/11468.

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24

Counselman, Jerry W. „European immigrant designers and their influences on American graphic design 1920-1950 /“. Online version of thesis, 1990. http://hdl.handle.net/1850/10923.

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25

Enroth, Maria. „Developing tools for sustainability management in the graphic arts industry“. Doctoral thesis, Stockholm : Computer Science and Communication, Royal Institute of Technology (KTH), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4169.

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26

Green, Philip John. „Gamut mapping and appearance models in graphic arts colour management“. Thesis, University of Derby, 2003. http://hdl.handle.net/10545/200011.

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27

Alishusky, Haley. „Illustrated Myth: Exploring Culture through Graphic Novels“. Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1526639815771596.

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28

Sarrafi, Aroosha. „Promotional materials for the Central Connecticut State University. Department of Design (Graphic/Information)“. View abstract, 1999. http://library.ctstateu.edu/ccsu%5Ftheses/1559.html.

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Thesis (M.S.)--Central Connecticut State University, 1999.
Thesis advisor: Sue Vial. " ... in partial fulfillment of the requirements for the degree of Master of Science in Art education." Includes bibliographical references (leaf [9]).

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29

Rodriguez, Eli. „Horizon : Travel services to Puerto Rico /“. View abstract, 1999. http://library.ctstateu.edu/ccsu%5Ftheses/1558.html.

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30

Viseshsin, Jongruja Mai. „The multiple dimensions of graphic design /“. Online version of thesis, 1992. http://hdl.handle.net/1850/11629.

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31

Sauthoff, Marian Dene. „Conceptual frameworks and interpretive strategies in graphic design“. Pretoria : [s.n.], 2006. http://upets.up.ac.za/thesis/available/etd-08022006-165847/.

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32

Tryon, Katherine T. „An examination of print and web graphics' effect on readers' recall“. Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/388.

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33

Corbo-Hudak, Neva. „User considerations in graphic design /“. Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1111.

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34

Gaydos, Benjamin. „[ethno]graphic design“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/98.

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Visual communication is a part of everyone's daily existence. It is a ubiquitous mode that shapes not only the environment that individuals inhabit, but the very identity of the individual. Graphic designers, who create the vast majority of the visual communication encountered, play a crucial role in the production of cultural identity. It is a necessity that designers understand that role, as agents of cultural production.[ethno]graphic design is an ever-evolving approach to graphic design which utilizes anthropological methods in the creative process. This document presents a collection of projects which take an anthropological approach to the design process, utilizing techniques developed by cultural anthropologists to aid the design process primarily ethnographic fieldwork, participant observation, collaboration, multivocal representation and reflexivity.

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35

Pease, David E. „A guide to computer-based training for the graphic arts industry /“. Online version of thesis, 1992. http://hdl.handle.net/1850/11242.

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36

Webb, Jason N. „The advanced features of Mac OS X and their benefits to the design community /“. Online version of thesis, 2003. http://homepage.mac.com/jasonwebb/thesis/.

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37

Wu, Diing-Wuu Vale. „Introduction to fractal by using interactive media design /“. Online version of thesis, 1991. http://hdl.handle.net/1850/11287.

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38

Harvey, Connie Winfield. „IISMA, an interactive information system /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11221.

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39

Wardell, Emily K. „Graphic Content Warning; Personal and Political Traumas“. VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5849.

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The written portion of this thesis work is meant to address and further investigate the visual work created using mediums of print and found video. This artistic research has been interested in examining varying associations with truth, recollection, and evidence. This includes the recollection of public histories and news-media narratives as well as my own history and trauma. Through this work my aim was to create a deconstruction and revolt against how associations are formed, and how to understand imagery as information. This thesis first discusses my relationship to appropriated imagery, then connects and examines it through the addition of poetic elements and events from my own lived experience.

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40

Kuhn, Simon. „Critical design within the practice of graphic design“. Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1007843.

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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.

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41

VonSchneden, Franz-Jacques A. T. „What, why, where, when : design, art, time, language and symbols /“. View abstract, 1998. http://library.ctstateu.edu/ccsu%5Ftheses/1554.html.

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Thesis (M.S.) -- Central Connecticut State University, 1998.
Thesis advisor: Susan G. Vial "...in partial fulfillment of the requirements for the degree of Master of Science [in Art]." Includes bibliographical references (leaves 45-62).

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42

Mendoça, Filipe Folque de. „O Cardeal-Patriarca D. José de Mendóça e a encomenda de obras artísticas (1780-1808)“. Master's thesis, Instituições portuguesas -- -Universidade Lusíada, 1999. http://dited.bn.pt:80/29218.

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43

Edholm, Rosalie. „Portrait: A Graphic Novel and Artist's Book“. Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/scripps_theses/24.

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At this exact moment, graphic novels are enjoying a heyday of popularity, profusion and attention. As the graphic novel medium matures and detaches itself from the “non-serious” reputation of comics, it is becoming clear that graphic novels are a powerful and effective art form, using the both verbal and the visual to relay their narratives. Portrait, the short graphic novel that is my senior art project, is intended to emphasize the artist’s book character of the graphic novel, and serve as an example of how a graphic novel’s artist’s book characteristics allow communication of the artist’s message effectively.

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44

LaMarca, David J. „Graphic Design Archive : Lester Beall collection /“. Online version of thesis, 1990. http://hdl.handle.net/1850/11299.

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45

Michael, David E. „User difference and graphic design : some studies with flow charts“. Thesis, Keele University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.257477.

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46

Tsen, Jung-mei. „Motion in graphics /“. Online version of thesis, 1995. http://hdl.handle.net/1850/12246.

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47

Aloumi, Ahmad Eissa. „Timing considerations in visual communication /“. Online version of thesis, 2008. http://hdl.handle.net/1850/6427.

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48

Clark-Brown, Peter Gabriel. „A graphic interpretation of some social constructions of disability“. Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/17494.

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Bibliography: pages 37-38.
The work undertaken for my Masters degree seeks to address some of the prejudice experienced by disabled people. Society's concept of a normal body prescribes unattainable standards for people with disabilities, thereby isolating and marginalising them. Instead of accommodating these physical differences, society encourages disabled people to withdraw from society or to try to conform to able-bodied ideals and to appear 'as normal as possible'. The very physical presence of disabled people challenges these assumptions of normality. Therefore, attempts are made to cosmetically hide the offending part or exclude the person from society (e.g. a hollow shirt sleeve or 'special' school). When individuals fail to conform to the prescribed standards of normality, they face the stigma of being viewed as pitifully inferior and dependent upon their able-bodied counterparts. In this way disabled people do not 'suffer' so much from their condition, as from the oppression of able-bodied biases. Through different eyes, society could be seen as handicapped as a result of its inability to adapt to, or deal with difference. In reality, however, disabilities are experienced by many people and can range from those which are physically visible and easily identified to those less obvious, but often more debilitating such as abrasive, socially aggressive personalities or learning disabilities. It is possible, therefore, to extend the understanding of the term disability to any physical or emotional impairment that limits a person's functioning within a so-called normal society. Although many people and organisations have searched for less pejorative or negative terms to describe an impairment such as 'Very Special', 'people with abilities' or 'physically challenged', these attempts have failed to reverse prejudice. Instead, these descriptions have only re-described the emphasis on 'otherness' and 'difference'. In addition, these replaced descriptions are again associated with the same stigmas that they were intentionally designed to avoid. In the following discussion I have consciously used the word disabled or disability to refer to individuals with various disabilities which I have nevertheless defined as socially constructed. In doing so I am suggesting no pejorative associations. Through this project I wanted to explore notions of disability within various debates associated with disability and society. I have done this in the context of my own experience of disability, and my own attempts to come to terms with disability. In this sense this project represents a personal journey.

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49

Malinoski, John Banton. „Graphic design archive on videodisc marketing and communication programs /“. Online version of thesis, 1986. http://hdl.handle.net/1850/8749.

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50

Kilgas, Gary W. „An analysis of the barriers impacting student enrollment in graphic arts programs at Fox Valley Technical College“. Menomonie, WI : University of Wisconsin--Stout, 2007. http://www.uwstout.edu/lib/thesis/2007/2007kilgasg.pdf.

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