Dissertations / Theses on the topic 'Design -> introduction to graphic design'
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Wu, Diing-Wuu Vale. "Introduction to fractal by using interactive media design /." Online version of thesis, 1991. http://hdl.handle.net/1850/11287.
Full textJackson, Lance Douglas Smith Jon M. 1959. "Introduction to the Internet and Web page design." [Cedar City, Utah : Southern Utah University], 2009. http://unicorn.li.suu.edu/ScholarArchive/Communication/JacksonLanceD/IntrototheInternet&WebPageDesign.pdf.
Full textA workbook CD accompanies this text. For more information contact the author, Lance Jackson, Southern Utah University, 351 W. University Blvd., Cedar city, UT 84720. E-mail: jackson@suu.edu. Telephone: (435) 586-7867. Title from PDF title page. "April 2009." "In partial fulfillment of the requirements for the degree [of] Master of Arts in Professional Communication." "A project presented to the faculty of the Communication Department at Southern Utah University." Dr. Jon Smith, Project Supervisor. Includes bibliographical references (p. 14, 33, 49, 69, 85, 104, 135, 155, 174).
Mastoridis, Klimis. "Casting the Greek newspaper : a study of the morphology of the ephemeris from its origins until the introduction of mechanical setting." Thesis, University of Reading, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361424.
Full textGaydos, Benjamin. "[ethno]graphic design." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/98.
Full textЮрченко, Д. В. "Color in graphic design." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10806.
Full textYurchenko, Daryna. "Contrast in graphic design." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13186.
Full textПугачова, Анна Олегівна. "Rules for graphic design." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15355.
Full textHunter, Darrin S. "Regionalism in Graphic Design." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367928330.
Full textHansen, Bret. "Graphic Design as Projection." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2117.
Full textPlouffe, Danielle Grace. "Graphic design career information /." Online version of thesis, 1993. http://hdl.handle.net/1850/11960.
Full textTedeschi, Carla. "Design theory and methodology /." Online version of thesis, 1992. http://hdl.handle.net/1850/11771.
Full textKuhn, Simon. "Critical design within the practice of graphic design." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1007843.
Full textBritt, Cathleen. "Interactive interface design : Graphic Design Archive phototype 2.0 /." Online version of thesis, 1989. http://hdl.handle.net/1850/11542.
Full textOwens, 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.
Full textCorbo-Hudak, Neva. "User considerations in graphic design /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1111.
Full textValtersson, 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.
Full textJägerholm, 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.
Full textOlatidoye, Olugbemiga A. "Design-oriented graphic-user-interface." Diss., Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/23110.
Full textJUNIOR, 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.
Full textO 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.
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.
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.
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.
Girouard, L. Clay. "Historic graphic design at RIT /." Online version of thesis, 1990. http://hdl.handle.net/1850/10948.
Full textAccompanied by a catalog: An exhibition of historic graphic design from the collections of Rochester Institute of Technology. Typescript. Includes bibliographical references (leaf 99).
Crosby, Marianne. "Color psychology and graphic design /." Lynchburg, VA : Liberty University, 2007. http://digitalcommons.liberty.edu.
Full textSisson, Laurel. "Experiential design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11222.
Full textMuir, 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.
Full textHarland, 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/.
Full textBailey, Curtis A. "It's Slapstick Design, Thanks! Wait! No "Thanks"- Just Slapstick Design." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4249.
Full textSnape, Jason J. "Humor as an element in graphic design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11218.
Full textBarbieri, Chiara. "Graphic design and graphic designers in Milan, 1930s to 1960s." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2816/.
Full textZainuddin, Ahmad Haji. "Managing design : the role of graphic design in export management." Thesis, Manchester Metropolitan University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306302.
Full textLaranjo, Francisco Miguel. "Design as criticism : methods for a critical graphic design practice." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12027/.
Full textTimney, Todd F. "Design History Matters: Visualizing Graphic Design History Through New Media." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/38.
Full textWenzel, George C. "Experimental graphic design : Lester Beall/SITE /." Online version of thesis, 1989. http://hdl.handle.net/1850/11468.
Full textLee, Mindy. "A graphic design curriculum development project." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1569031.
Full textExamining 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.
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.
Full textPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
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.
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.
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.
Full textGraphic design is described as the process of visual communication and problem-solving through the use of typography, photography, iconography and illustration.
LaMarca, David J. "Graphic Design Archive : Lester Beall collection /." Online version of thesis, 1990. http://hdl.handle.net/1850/11299.
Full textNeff, Mary Kay. "Educational/informational posters on graphic design /." Online version of thesis, 1987. http://hdl.handle.net/1850/10325.
Full textSettergren, Jane Ann. "PresentationMaker : Graphic Design Archive module 3.2 /." Online version of thesis, 1992. http://hdl.handle.net/1850/11072.
Full textViseshsin, Jongruja Mai. "The multiple dimensions of graphic design /." Online version of thesis, 1992. http://hdl.handle.net/1850/11629.
Full textStacy, Michelle A. "Graphic design and the unconscious codes /." Online version of thesis, 1992. http://hdl.handle.net/1850/11761.
Full textZalewski, Sondra. "Design, graphic arts, and the environment /." Online version of thesis, 1994. http://hdl.handle.net/1850/12205.
Full textHu, Marina <1995>. "Tecniche di progettazione del Graphic Design." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18957.
Full textSÁNCHEZ, 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.
Full textCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
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.
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.
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/.
Full textAssibey, Ginn Bonsu. "Design interventions for re-conceptualising sustainable graphic design practices in Ghana." Thesis, Cape Peninsula University of Technology, 2019. http://hdl.handle.net/20.500.11838/3087.
Full textThis research explored and examined graphic design practices through the lens of the Sustainability Development Analytical Grid. The exploration was meant to discover how graphic design practices are carried out - from idea inception to the delivery stage of graphic design products - in a developing nation. The essence of the exploration was to understand how graphic designers make design decisions and the effects of these design decisions in the pre-press, press and post-press activities from a sustainability perspective. In the examination, the first task was to probe the identified graphic design practices using the selected sustainability framework, to ascertain what the challenges are to sustainability in graphic design practices. The second task was to explore sustainable, emerging-design interventions and match them to the identified challenges within the same graphic design community. This served as a means for re-conceptualising sustainable graphic design for purposes of best practice in a particular developing nation. This research, thus, advances that aside from the environmental dimension, the social and economic dimensions of sustainability are also integral parts of sustainability, and thus the holistic nature of sustainability should be recognised as such in sustainable graphic design. In the research study, empathic, contextual and ethnographic human-centred approaches were deployed through the interpretivist paradigm. The selected human-centred approaches were used with the aid of an amalgamation of the Sustainability Development Analytical Grid and Activity Theory to examine graphic design practices from a graphic design production perspective. Qualitative research methods were used. The data-gathering tools used were participant observation, interviews and document reviews to interrogate the nature of graphic design practices, the challenges to sustainability and the emerging-design interventions used by some designers to counter the challenges to sustainability. The research site was Asafo, a suburb of Kumasi in Ghana. The selected samples were four graphic design firms, 30 graphic designers, 15 creative directors, 30 clients and 30 graphic design products, all were selected purposively. The results revealed several challenges to sustainability in graphic design practices such as lack of knowledge on proper disposal of printing machine chemicals, poor choice of printing paper without environmental considerations and weak ethics in the promotion of unapproved graphic design packages for food products. On the other hand, there were local, emerging-design interventions within the same graphic design community developed by the designers that countered most of the challenges to sustainability. The local design interventions supported the concept of cosmopolitan localism that gives graphic designers room to develop solutions that are local but have global essence. The study proposes that the future of holistic sustainable graphic design lies in local design interventions, implying that the developing nations have alternative solutions to their problems and must be allowed to develop their resilience through innovation.
Pontis, Sheila Victoria. "Guidelines for conceptual design to assist diagram creators in information design practice." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5684/.
Full textBaker, Leuan Zumwalt. "Susan B. Anthony House graphic design program /." Online version of thesis, 1989. http://hdl.handle.net/1850/10900.
Full textHayward, Ken. "Navigational tool for the Graphic Design Archive /." Online version of thesis, 1989. http://hdl.handle.net/1850/10847.
Full textWicomb, Samuel Domingo. "Graphic design students’ perceptions of work practice." Thesis, Cape Peninsula University of Technology, 2016. http://hdl.handle.net/20.500.11838/2391.
Full textThe 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.
Demakova, Yana. "The impact of graphic design on society." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15290.
Full textVeselkova, Taisa, and Kalina Pashkevych. "Concept art as part of graphic design." Thesis, Universitatea Tehnică a Moldovei, 2021. https://er.knutd.edu.ua/handle/123456789/19041.
Full text