Dissertations / Theses on the topic 'Visual communication design'
To see the other types of publications on this topic, follow the link: Visual communication design.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Visual communication design.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Thungren, Edvin. "Monumentalism : A Power Language in Visual Communication." Thesis, Konstfack, Grafisk Design & Illustration, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6116.
Full textAbstract:
This work is a study on the phenomenon of monumentality. It combines examples and theories from art and architecture and seeks to explore its counterparts in the context of visual communication and graphic design. The project focuses on forms and materials of culturally inherited power and explores how these aspects of monumentalism could be used as a design tool. The final result of this project was presented as a lecture and an exhibition, in excess of this written report.
2
Mejia, Ramirez German Mauricio. "Visual Communication Design for Human Differences and Needs: Visual Intelligence and Mood." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277124546.
Full text
3
Buwert, Peter. "Ethical design : a foundation for visual communication." Thesis, Robert Gordon University, 2016. http://hdl.handle.net/10059/1577.
Full textAbstract:
The central original contribution to knowledge proposed by this thesis is the setting forth of a conceptualisation of ethical theory specifically in relation to design, with a focus on visual communication design. Building on earlier work by design theorist Clive Dilnot in the area of design ethics and on philosopher Giorgio Agamben’s formulation of the philosophical concept of potentiality, a way of thinking about the relationship between design and ethics is proposed which concludes that design is in fact always inherently ethical. However, this conception of ethical design purposefully leaves questions of the qualification of good and bad unresolved, stating only that the ethical is the prerequisite condition in which both good and bad become possibilities. Design’s significantly unethical capability to suppress and anaesthetise individuals’ ethical experience is highlighted through a proposal of a process of an/aesth/ethics. Observation of the relationship between design and ethics in the real world through a series of interviews demonstrates something of the complexity of design’s relationship with ethics and the diverse range of positions, beliefs, attitudes and paradoxes abounding within the design profession when it comes to addressing the question of “good” design practice. Six “sites” of ethics within contemporary design discourse are introduced and discussed. The ethicality of design practices in relation to these sites are then analysed through the lens of the proposed ethical framework: identifying strengths, weaknesses and potentials within these observed strategies. The way of thinking about ethical design proposed here demonstrates potential in contributing to designers’ ability to critically consider the ethicality of their own practices. From this foundation they may be better equipped to begin addressing the question of the qualification of the “goodness” of design. In conclusion, proposals are made for how this framework could be practically developed and used to support and encourage ethical design in the real world.
4
De, Villiers Lizelle. "Visual communication for a youth market : an exploration of visual meaning through co-design." Thesis, Cape Peninsula University of Technology, 2018. http://hdl.handle.net/20.500.11838/2850.
Full textAbstract:
Thesis (MTech (Design))--Cape Peninsula University of Technology, 2018.The youth faces unique challenges due to constant movement within the global economic and technological contexts. A digitally oversaturated world with constant access to globalised, mass information makes it challenging for communication designers to reach this audience on important matters. The South African context further complicates matters as youth unemployment is at an all-time high, a lack of quality schooling continues to feed poverty and inequality, exposure to gangs, violence, trauma and sexual abuse contribute to antisocial behaviour and drug and alcohol abuse increase risky sexual behaviour. It is therefore important to connect with the youth on these matters. The need to explore the mechanisms and content which will successfully connect with a South African youth audience was identified. In response to this, this study explored what the youth considers to be meaningful communication. The main objective of this research was to explore what types of visual communication have meaning for the youth to enable communication designers to connect with the South African youth market. The study used case study methodology and data was collected qualitatively through a questionnaire and participatory methods, including two co-design workshops (with 20 participants, aged 20-27) and a small group discussion (with 5 participants). The study featured a co-design approach, which focused on collaborative meaning-making through the visualisation of communication pieces. The study identified several interconnected themes which relate to a bigger category of association. Three major categories of understanding were identified: perception (how the youth see their world); engagement (how the youth experience their world); and relevance (how the youth relate to their world). These themes provide visual communication designers with valuable insights relating to the youth audience.
5
Bruno, Alexander. "Visual-Audio Media: Transformation and Communication." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3768.
Full textAbstract:
Designers are often concerned with communication through the visual; we focus on the printed object, images on screens, furniture, spaces, and other visual experiences. We should also be cognizant of audio and its communicative properties, especially when contextualized with visual content. Pairing visuals and audio can make a greater impact upon a viewer/listener than each media might make alone. My research focuses on a practice of working within strict sets of rules and boundaries to create visual-audio work. This visual-audio work not only communicates a concept or idea, but also lives as a research artifact of my design processes.
6
Wood, David Alexander. "Visual phenomenological methodology : the repositioning of visual communication design as a fresh influence on interaction design." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22882.
Full textAbstract:
This practiced-based thesis examines how a new Visual Communication methodology helps interaction designers to improve their future designs. This is achieved by engaging in creating visual interpretations from a lived experience that they need to design for, to reveal the phenomenological essence of what users have actually experienced, rather than what they say they have. This new Visual Phenomenological Methodology (VPM) places interaction designers into a specific communicational situation, in order to understand the phenomena of users’ lived experience ‘through their eyes.’ Thus immersed, interaction designers montage visual interpretations of what users saw/felt/did in the lived experience. The VPM facilitates interaction designers into designer-interpreters, who can interpret sensory data into a behavioural story of what its like to be the user in a lived experience. This thesis has developed the VPM across three peer reviewed, practice-based projects, using a synthesis of the pragmatic semiotics of Peirce, Hermeneutic Phenomenology, and visual communication techniques. Following the Frascaran view that the design discipline of Visual Communication (graphic design and illustration) is a positive facilitator of behavioural change, the VPM employs this hermeneutic-semiosis synthesis to facilitate interaction designers to develop a deeper and emergent understanding of the hidden motivations behind user behaviour. Through a contextual review into Visual Communication, Interaction Design, Phenomenology and Semiosis, this thesis develops the VPM from a theoretical concept, to a set of designer-friendly method cards that interaction designers can employ during their ideation phase. Throughout its development the VPM and its method cards were workshopped and peer reviewed by interaction designers. This thesis, over the following seven chapters, demonstrates how the VPM successfully provided Visual Communication design with a fresh way to re-influence Interaction Design, as a new contribution to knowledge.
7
RODRIGUES, ROBERTA PORTAS GONCALVES. "DESIGN COURSE COMPLETION PROJECT - VISUAL COMMUNICATION: A CASE STUDY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15113@1.
Full textAbstract:
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Observar o desenvolvimento de projetos de alunos em Design é um ótimo exercício na busca afinarmos as diretrizes de uma instituição de ensino com o real processo percorrido pelos alunos. A presente pesquisa é um estudo de caso realizado com alunos da disciplina Planejamento, Projeto e Desenvolvimento - Comuicação Visual Conclusão (PPD-CV Conclusão), última disciplina de projeto do curso de Design da PUC-Rio, habilitação Comunicação Visual, pertencente ao currículo em vigor para alunos que ingressaram por vestibular até 2007. Durante o segundo semestre de 2007 e o primeiro semestre de 2008, o desenvolvimento dos projetos dos alunos da turma da professora tutora Izabel de Oliveira foi observado com o objetivo de identificar nas etapas percorridas pelos alunos, lacunas que pudessem ser trabalhadas. No processo destacamos 4 projetos que são apresentados à luz de fundamentação teórica, trazendo um olhar crítico sobre os processos percorridos pelos alunos.
The development of projects by Design students is an excellent exercise when it comes to searching for the gaps to be covered in an attempt to finetune the guidelines of a teaching institution based on the real progress made by its students. This research involves a case study conducted with students of the PPD-CV Conclusion Course, the last subject in the Design course at PUC-Rio, Visual Communications Major, belonging to the curriculum prior to 2007. During the second semester of 2007 and the first semester of 2008, the researchers observed the development of the projects by students from the class of Tutor Professor Izabel de Oliveira with the objective of identifying the stages completed by the same as they develop their projects, gaps that could be worked. In order to ensure a critical perspective on the completed processes, the researchers highlight four projects that are presented based on a theoretical foundation.
8
LAUFHÜTTE, MARIA LUIZA ZENOBIO DE ASSUMPÇÃO VILLAR. "CINEMA S PRODUCTION DESIGN: SCENOGRAPHY S VISUAL COMMUNICATION PROCESS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27526@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Esta dissertação propõe-se a pesquisar o Design de Produção através dos cenários e dos objetos cenográficos que os compõem com a intenção de estabelecer a comunicação visual do filme com o espectador.
This dissertation proposes to research Production Design through the movie set and the props that compose it with intention to establish the visual communication with the viewer.
9
The, Richard. "Subjectified : personification as a design strategy in visual communication." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/62083.
Full textAbstract:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 87-89).
When we encounter statistics too far removed from our personal experience, we sometimes find it difficult to imagine the real implications of that data. While we might understand the information logically, it can be hard to relate it to our immediate personal lives. In this thesis, I investigate a novel visual representation for such data, which I call Personification of Information. This alternative form of data visualization incorporates real people within the viewer's immediate physical or social environment as part of the representation. The goal of this visualization technique is to bring information that is otherwise perceived as distant and detached closer to the viewer. This design strategy is explored in three artistic projects, "What If the World were your n Facebook friends?", "Unification-A Case Study?" And "What Was the Media Lab Thinking About In The Year _ _ _ ?" They are complemented by two projects from other areas that investigate Personification as a design strategy to bring the abstract closer to the individual: "Omnivisu" uses Personification as an interface to architecture; "Giving Character to Characters" applies the strategy to augment digital typography with human expression. Additionally I formalize the findings of these projects as a set of generalized design parameters for Personification of Information.
by Richard The.
S.M.
10
Schmidt, Gregory J. "positions of place: converging viewpoints in visual communication." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4823.
Full textAbstract:
This thesis includes a body of work that explores our visual relationship to the physical spaces and places we inhabit in our everyday lives. Today we live in a complex world where we are bombarded with fragments of information and inundated with distractions. As designers, we are equipped with tools and methods that allow us to experience and interpret our environment through multi-faceted perspectives and from different viewpoints. My approach to graphic design adopts techniques and practices from a mix of different disciplines. The work focuses on a design process that alternates between the parallel depiction of first-person and third-person vantage points mediated through contemporary technologies.
11
Diol, Phillip Pritam. "Incorporating interactive design threads into four-year university undergraduate visual communication design curricula." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327507405.
Full text
12
Andersson, Schaeffer Jennie. "Communication space : Spatial design in manufacturing industry." Licentiate thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-11857.
Full textAbstract:
The main concern of this licentiate thesis is to discuss how built space is used for communication in the manufacturing industry, from a visual communication perspective. The thesis presents and develops the notion of 'communication space' and presents a model to describe the relation between different factors in the communication space. In a multiple case study, six different cases from the manufacturing industry are described and analyzed to highlight how built space is used for communication in a lean production context. Research results on how built spaces such as improvement places, meeting places and a development workshop affect improvement processes and communication are presented. What the studied improvement areas, meeting places and workshop can be said to communicate about the improvement processes is analyzed. The research results show that the built spaces in manufacturing industry are used for communication on two levels, both as places for interaction between employees and as a part of a communication process. The study also shows a relation between architecture from a specific time and the relation to the improvement work in the industrial context. How the results can be used to facilitate communication in the built spaces used for improvement processes in manufacturing industry is suggested in the thesis.DeViP and Kaikaku
13
Ribeiro, Bruno B. R. "Reshaping Visual Communication Design Curriculum to Support Collaboration with Computer Science and Engineering." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337915762.
Full text
14
Steele, Quintin Jon. "Audio & Visual DesignDesigning Holistic Sensory Experiences within Environments." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470849876.
Full text
15
Doupovec, Clara. "Not so mysterious : A visual communication project exploring transformative economic alternatives." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104114.
Full textAbstract:
Not so mysterious is a poster project exploring transformative alternatives to a growth-oriented economy, and experimenting with applying the idea of free and accessible to the visual process. In this report I present my personal background for the project, the systemic alternatives Doughnut Economics, wellbeing economy and The Transition Movement, and tie these together with local small-scale initiatives in my surroundings. I argue that system change can and is happening locally and I try to demystify change. I do this both through writing and through my visual project work which is also presented in this report.
16
Sadokierski, Zoe. "Visual writing : a critique of graphic devices in hybrid novels from a visual communication design perpsective /." Electronic version, 2009. http://utsescholarship.lib.uts.edu.au/iresearch/scholarly-works/handle/2100/1042.
Full text
17
Corbo-Hudak, Neva. "User considerations in graphic design /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1111.
Full text
18
Andrighetto, Gustavo Vitelo. "Elicitação de requisitos de projeto em design de comunicação visual." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/179456.
Full textAbstract:
A investigação de requisitos de projeto é uma atividade essencial da prática do design, associada a configuração do problema de projeto. Contudo, a técnica para esta atividade é muitas vezes desafiadora para os designers que possuem uma orientação para a resolução de problemas ao invés da configuração dos mesmos. Identificar todos os requisitos durante o estágio inicial de um projeto, seria o cenário ideal de trabalho para um designer. É amplamente aceito que a natureza do processo de design ocorre através da co-evolução do problema-solução, o que indica a existência da redefinição de requisitos durante o curso de um projeto. Entretanto, requisitos constantemente redefinidos em um projeto podem ser prejudiciais tanto na perspectiva do designer quanto do seu cliente, pois afetam na gestão do projeto e desgastam relação entre os envolvidos. Com o objetivo de compreender melhor este fenômeno e as suas causas, esta pesquisa, portanto, investigou como os designers de comunicação visual lidam com os requisitos de projeto, e com as suas respectivas mudanças durante o curso de um processo O método utilizado foi baseado no protocolo de Haug (2015), que investigou o mesmo tema, mas com designers de produto. Nove entrevistas foram realizadas com diferentes designers, que tiveram áudio digitalmente gravado, e posteriormente foram transcritas e analisadas. Como resultado, foi constatada a aplicabilidade do protocolo de Haug (2015) em design de comunicação visual, a descoberta de relações entre as categorias de mudanças de requisitos, e o desenvolvimento de duas ferramentas para auxiliarem o designer a compreender o seu processo de trabalho, e como adotar uma estratégia adequada para desempenhar o seu processo de trabalho de acordo com o seu próprio perfil e o do seu cliente.The investigation of project requirementes is an essencial task in design activity, also associated with problem setting. However this technique is often challenging for designers, wich are problem solving oriented instead of problem setting. The identification of all project requirements at the biginning of a project would be the ideal scenario for a designer. Nevertheless design activity is more like the evolution of problem-solution, pointing that project requirements are redefined during a design process. Requiremetns redefinitions during a design process, can be harmful for both designer and his client, because it affects their project managment and also their relationship. Aiming to better understand this phenomena and it’s causes, this research investigated how visual communication designers work performing the elicitation of project requirements and deal with requirement redefinition during their projects. The method used was based on Haug’s (2015) protocol, who investigated the same subject, but with product designers. Nine designers were interviewed with the audio digitally recorder, and afterwards all interviews were transcripted and analyzed. As a result, it was found that Haug’s (2015) protocol was applicable to visual communication design, a connection between the categorys of changing project requirements was drawn, and tools were developed to help designers decide for a process strategy between the different client ant their own profiles.
19
He, Yin. "Immersive Storytelling for Environmental Communication." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-158200.
Full textAbstract:
As one of the earliest attempts to apply immersive technology in environmental communication, this design research project tries to answer the following research question: how do we communicate the connections between food-related behaviors and environmental impacts through immersive storytelling? During the project, an immersive story called "Trik’s' Party" for dome shows and a journey map of an immersive visitor experience are created. These design outcomes and this paper are built on the knowledge of scientific findings, communication methods, content creations, and service design. To support the creation process, new sketching, storyboarding and prototyping methods were developed for dome content creations. The core message of this paper is that effective environmental communication is not just about informing the public about facts and data from scientific studies. It is also about giving individuals and communities the knowledge, tools and spaces to develop a vision of their own future. Immersive storytelling is one of the methods for creating these spaces. It has a large potential to raise public empathy with other people and their future-self when the long-term and abstract impacts of the environmental problems become more visible and comprehensible in an imaginary space.
20
Henrichson, Linn. "Hypermanual : Designing beyond the screen." Thesis, Konstfack, Institutionen för design, inredningsarkitektur och visuell kommunikation (DIV), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7712.
Full text
21
Klotzel, Ruth. "Um percurso em design gráfico e comunicação visual." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-19102010-171423/.
Full textAbstract:
Esta dissertação é uma reflexão crítica a respeito da formação e do desenvolvimento profissional da autora, a designer gráfica Ruth Klotzel, arquiteta formada pela FAUUSP em 1982. Trata de recuperar e apresentar seu percurso intelectual/profissional desde o contexto familiar, social e político de sua formação e expõe e comenta alguns de seus projetos gráficos e de comunicação visual. Contém também um relato sobre a formação da ADG (Associação dos Designers Gráficos), da qual foi uma das fundadoras e diretora, e uma compilação de eventos ligados ao Icograda (International Council of Graphic Design Associations), do qual é vice-presidente nas gestões 2003-2005 e 2005-2007.This dissertation consists of critical reflection on the professional training and development of its author, Ruth Klotzel, graphic designer and BS in Architecture (1982) from the School of Architecture and Urbanism of the University of São Paulo-FAUUSP. The purpose is to recall and disclose the family, social and political context of her chosen intellectual/professional course, and to show and comment on some of her graphics and visual communication projects. The dissertation also includes the history of the Association of Graphic Designers-ADG of which Ms. Klotzel was a founding member and director, as well as a compilation of events linked to the International Council of Graphic Design Associations-Icograda, to which she was elected vice president for the 2003-2005 and 2005-2007 terms.
22
Graell-Colas, Mercè. "Exploring Visual Means For Communication And Collaboration In Multidisciplinary Teams, An Interpretation And Implementation For Design Education." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230621313.
Full text
23
Challis, Ben P. "Design principles for tactile communication within the human-computer interface." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341117.
Full text
24
Graell-Colas, Mercè. "Exploring visual means for communication and collaboration in multidisciplinary teams an interpretation and implementation for design education /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230621313.
Full text
25
Hejdström, Aron. "Improving Swedish nature reserve visitor maps with focus on relevance and visual communication." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23709.
Full textAbstract:
At first glance, the image of a map looks familiar to a graphic designer. It comprisescolours, shapes and typography. But beyond the graphical surface it hides a complex system of techniques and rules, like the clockwork behind a dial. This thesis tries toapproach and improve map production from a starting point in graphic design. Byaddressing visitor maps for nature reserves it aims to make nature more accessibleand appealing to a larger group of people.The main purpose of the thesis is to examine how Swedish nature reserve visitormaps can be improved with focus on relevance for their aims and use and how thisis communicated through the visual presentation. A secondary purpose is to examinehow to produce such maps in a rational way, using digital geographic informationsystems (GIS) and adopted working processes.The research was conducted using a combination of traditional methods and techniques combined with research through design activity. Methods and techniques were gathered from ethnography, action-research and usability-research and include literature studies, interviews, questionnaire surveys, participatory observation, action-research protocols, beta-testing and collection of samples.The design activity resulted in both free-standing sketches and map-sketches forthe Gotlandic nature reserves Langhammars and Stora Karlsö. Two processes and one descriptive structure were developed and described: a process to adopt visual representations of map-information to its contextual relevance, a process to produce nature reserve visitor maps, and a structure to present practical design work in a scientificcontext. Results also comprised collected answers, discussions and samples from questionnaire surveys, participatory observation, interviews and general research.The thesis concludes that it is fruitful to consider the visitor map as “a product made for use” and apply a usability-approach as it is rather an example of visual information than visual communication. Close research of both sender and users is also important to be ableto select, adapt and fine-tune the information in the map in relation to its aims and use.The digital possibilities that enables GIS to provide easy accessible and accurate data can produce efficient workflows in map design if combined with the graphic designers experience to develop and streamline design processes. The combination of modern technology, practical design work and research is profitable in both an analogue and digital context and makes visitor maps a contemporary and interesting area for both researchers and practitioners.
26
Reynaldo, Tony. "Bauhaus color pedagogy; exploring influences and relevance in today's U.S. visual communication design programs." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1387359990.
Full text
27
Costandius, Elmarie. "Engaging the curriculum in visual communication design : a critical citizenship education perspective." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71660.
Full textAbstract:
Thesis (PhD)--Stellenbosch University, 2012.Includes bibliography
ENGLISH ABSTRACT: The importance of global and local change and transformation is emphasised through initiatives such as the United Nations Millennium Development Goals (2012) and the Earth Charter Initiatives (2011) for constructing a just, sustainable and peaceful global society. In South Africa, the need for transformation has been underlined by the South African Department of Education in the Education White Paper of 1997 (DOE 1997). At Stellenbosch University, the Pedagogy of Hope (US) project aims to find concrete ways to reflect on historical influences and current SA society. Tremendous progress has been made in transformation regarding legislative policies, but personal transformation within people is proving to be slow. As a response to these realities, a module called Critical Citizenship was introduced for first-‐ to third-‐year Visual Communication Design students at the Visual Arts Department at Stellenbosch University. The aim of this research project was to explore the perceptions and attitudes of students, learners and lecturers regarding personal transformation through teaching and learning in the Critical Citizenship module. As a framework for the study, I emphasised the importance of giving consideration to the emotional dimensions of learning (Illeris 2007), meaning considering the learning being (Barnett 2009) as a thinking, feeling and acting person (Jarvis 2006). The objectives of the study were to identify such emotional reactions to the Critical Citizenship module and to establish what the emotional reactions revealed about the immediate and broader context of the teaching and learning context in which students, learners and lecturers learn and teach. I followed an interpretative approach and a case study research design that aimed at exploring and providing an in-‐depth investigation of the Critical Citizenship module was used. The themes that surfaced from reflections written by students and learners and from group interviews, comprised feeling unprepared for this type of project; feelings of guilt and shame; resistance to this type of project; asymmetry and assimilation, but also feelings of hope. Other responses, suggesting feelings of empathy, privilege, humility, re-‐ evaluation of priorities and values, sameness and difference, feeling out of a comfort zone and reflecting on blackness and whiteness were also interweaved with the main themes. The results of the research included that taking into consideration the emotional aspects in critical citizenship education is important because we are thinking, feeling and acting beings, but moving beyond emotional reactions toward rational actions is crucial. Critical citizenship cannot be taught in isolation because the context in which it exists plays a vital role and an inclusive critical citizenship curriculum within community interactions for the wider society is suggested.
AFRIKAANSE OPSOMMING: Die belangrikheid van globale en plaaslike verandering en transformasie word beklemtoon deur inisiatiewe soos die Verenigde Nasies se Millennium-‐ ontwikkelingsdoelwitte (2012) en die Aardemanifes Inisiatiewe (2011) vir die daarstelling van ‘n regverdige, onderhoubare en vreedsame globale gemeenskap. In Suid-‐Afrika is die behoefte aan transformasie deur die Suid-‐Afrikaanse Departement van Onderwys deur die Onderwys Witskrif van 1997 (DvO 1997) onderstreep. By die Stellenbosch Universiteit beoog die Pedagogie van Hoop (US) projek om konkrete maniere te verkry om historiese invloede en die huidige SA gemeenskap te oordink. Geweldige vooruitgang in transformasie is reeds ten opsigte van wetgewende beleid bewerkstellig, maar dit blyk dat persoonlike transformasie binne-‐in mense traag gebeur. ‘n Module genaamd Kritiese Burgerskap is as reaksie tot hierdie realiteit by die Visuele Kunste Departement te Stellenbosch Universiteit ingestel vir eerste-‐ tot derdejaarstudente in Visuele Kommunikasie Ontwerp. Die doel van die huidige navorsingsprojek was om die persepsies en houdings van studente, leerders en dosente ten opsigte van persoonlike transformasie deur die onderrig en leer van die Kritiese Burgerskap module te ondersoek. As ‘n raamwerk vir die studie het ek beklemtoon dat dit belangrik is om die emotiewe dimensies van leer (Illeris 2007) in ag te neem, wat inagname van die lerende wese (Barnett 2009) as ‘n denkende, voelende en handelende persoon (Jarvis 2006) behels. Die doelwitte van die studie was om emotiewe reaksies op die Kritiese Burgerskap module te identifiseer en vas te stel wat deur sulke emotiewe reaksies ontbloot word ten opsigte van die onmiddellike en breër konteks van die onderrig en leer konteks waarbinne die studente, leerders en dosente leer en onderrig gee. Ek het met ‘n interpretatiewe benadering en lens te werk gegaan en ’n gevallestudie navorsingsontwerp is gebruik. Temas wat na vore gekom het uit refleksies wat deur studente en leerders geskryf is en uit groep onderhoude het die volgende behels: ‘n gevoel van onvoorbereidheid vir dié soort projek; gevoelens van skuld en skaamte; weerstand teen hierdie soort projek; asimmetrie en assimilasie, maar ook gevoelens van hoop. Ander reaksies wat ook met die hooftemas deurvleg was, was verteenwoordigend van gevoelens van empatie, bevoorregting, nederigheid, herevaluering van prioriteite en waardes, eendersheid en verskil, die gevoel van buite die gemaksone te wees en nadenke oor swartheid en witheid. Die resultate van die navorsing het behels dat dit belangrik is om die emotiewe aspekte by die onderrig van kritiese burgerskap in ag te neem omdat ons denkende, voelende en handelende wesens is, maar dat dit van kritieke belang is om verby emosionele reaksies na rasionele handeling te beweeg. Kritiese burgerskap kan nie geïsoleerd onderrig word nie omdat die konteks waarbinne dit bestaan ‘n deurslaggewende rol speel; ‘n inklusiewe kritiese burgerskap kurrikulum binne gemeenskapsinteraksies word vir die breër gemeenskap voorgestel.
28
Verzosa, Hurley Elise. "Toward a Pedagogy of Visual Communication as Critical Practice in Professional and Technical Communication." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/297050.
Full textAbstract:
This project, Toward a Pedagogy of Visual Communication as Critical Practice in Professional and Technical Communication, examines the teaching of visual communication in undergraduate professional and technical communication courses. Through an analysis of scholarship, textbooks, and a service-learning project as a case study, I argue that a situated visual communication pedagogy that integrates both analysis and reflection throughout the visual production and design process can better allow students to understand the ways in which the visual participates within larger social and cultural contexts. This understanding helps students develop abilities to potentially transform visual discourses emphasizing that all visual documents and texts, including the ones they produce, participate in shaping the ways in which meaning is made. By integrating visual communication and design into service-learning and other civic engagement pedagogies in the professional and technical communication classroom, instructors and students can begin to interrogate the view that professional and technical communication is a neutral, objective practice concerned only with prescriptive adherence to forms, conventions, workplace efficiency, and corporate success. Thus, in addition to helping students develop as communicators and thinkers, integrating visual communication into service-learning and throughout the duration of a course allows students to explore the civic dimensions of professional and technical communication, situating them as engaged designers and active members of their communities.
29
Chen, Chun-Di. "The development of a method for discovering visual communication needs in computer mediated design." Thesis, Coventry University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247452.
Full text
30
Marques, Tomás Cardoso. "O contributo do design gráfico para a comunicação visual em ciência." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2016. http://hdl.handle.net/10400.5/13463.
Full text
31
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 textAbstract:
Today’s society is characterised by the production of massive amounts of information— freely transferred—and instant access to knowledge. This current overproduction of data is translated into complex diagrams to enhance the clarity. Nevertheless, it is commonplace in information design practice to find diagrams that are not communicating the intended messages. The act of conceiving the diagram takes place during conceptual design. This can be where misleading analysis and superfluous information organisation actions may lead to ill-conceived conceptual design, and therefore to ill-conceived diagrams, i.e. overloaded, unintelligible and disorganised. Existing tools for conceptual design of diagram creation do not properly meet design practitioners’ needs in that they tend to be excessively time-consuming to implement. This indicates a need for the exploration of new design methods focused specifically on the conceptual design stage of the process of designing diagrams. This practice-led thesis presents one such possible design method, i.e. MapCI Cards, aimed at guiding experienced graphic and information design practitioners in the preparation of complex diagrams. MapCI Cards presents a collection of guidelines that make use of prompts and questions, in order to assist the conceptual design stage of diagram creation. The use of the proposed design method does not guarantee the production of outstanding outputs. The purpose of MapCI Cards is not to create aesthetic design; rather, it is to increase an understanding through guided content analysis and organisation of the information to be conveyed. Lists, draft diagrams, mind-maps and sketches are some of the possible resulting outputs of using the MapCI Cards. In short, the cards assist the development of the conceptual idea of the potential final diagram that will be developed in the prototype design stage. The first stage of this research investigates how complex diagrams organise information, using the London Underground diagram as a case study. Analytical relational surveys are used to explore diagram creators’ decision-making processes. Sets of studies of diagram structures (Walker, 1979a; Tufte, 1983), design processes (Wurman, 1989; Jones, 1992) and information organisation (Wurman, 2001; Shedroff, 2003; Roam, 2008) are examined and combined. After this, the data collected are analysed using qualitative visual methods, and rearranged to develop the content in MapCI Cards. Two pilot workshops are designed as the revising and optimising methods. Then, five self-documentation cases drawn from practising information designers in the UK are conducted to test MapCI Cards within professional practice. The performance of the proposed guided approach to conceptual design is measured through an interpretation model, and key informants’ insights are used to delimit its conditions and limitations.
32
Sweetapple, Kate. "The Rhetoric of distance : a model of the visual narrator in design /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20060516.144629/index.html.
Full textAbstract:
Thesis (Ph.D.) -- University of Western Sydney, 2003.Thesis submitted for the Degree of Doctor of Philosophy (Design), University of Western Sydney, 2003". Includes bibliography : leaves 263 - 270.
33
Ma, Magdy. "A Semiotic Phenomenology of Visual Rhetoric: Communication and Perception of Attributes of Cultural Sustainability in the Visual Environment of Public Housing." NCSU, 2008. http://www.lib.ncsu.edu/theses/available/etd-06192008-072312/.
Full textAbstract:
An integrated framework comprising rhetoric, semiotics, and phenomenology was constructed to provide theoretical foundations for exploring public housing residentsâ experiences engaging in the visual phenomenon of ânew signageâ and âestate art.â The focus of study concerns how design, meanings, and experiences of the visual objects evoke in residents a sense of cultural sustainability. A mixed-method âconcurrent nested qual+QUALâ strategy was developed to approach the research problem. This theory-driven methodology embeds semiotics within the dominant strategy of phenomenology. The researcher began with self-reflection, or âbracketing,â providing a descriptive account of her own experience of the phenomenon. Qualitative interviews were then conducted in four housing estates with 26 participant residents including elderly people, workers, housewives, and students. Standardized questions elicited participantsâ readings of designs within their social context; the questions were ânestedâ within informal conversations, which generated participantsâ full descriptions, first-person accounts of visual experiences interpreted within a more personal context. Bracketing identified that a rhetorical situation exists in the semiotic neighborhoods of estates wherein relocated residents appeared to have âa sense of disorientationâ and âaspiration to prosper.â These sensibilities were addressed through the design of name signs and public art. Socio-semiotic analysis of the visuals entailed seven cultural codes, representing cultural values underpinning the community. Phenomenological analysis captured residentsâ lived experience of visuals as seven phenomenological themes. The themes formed a structure of experience, indicating what it is like to perceive attributes of cultural sustainability. Further, five interpretive positions, or essences of experiences were uncovered as underlying the experiences. A synthesis of findings shows that communication and perception of cultural sustainability involved the rhetorical encoding of intended positive meanings into the visual designs, which residents decoded to come up with cultural meanings that evoked thoughts and feelings about the vitality of their community and continuity of Chinese culture. It is a result of âvisualityâ â interrelationships among designâs persuasive power, visual signification, and viewing experience â conditioned by residentsâ interpretive positions. This dissertation bridges visual design and sustainability, unveiling their enhanced social values while integrated, and strengthens the knowledge base of both fields of study, especially by its theoretical and methodological implications.
34
Sarin, Anika. "open / close: assimilating immersive spaces in visual communication." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4876.
Full textAbstract:
I am interested in two spaces obverse to each other: open and closed. An open space develops organically based on how people inhabit it. Interacting with an open space is a dynamic, sporadic, multisensory, immersive, and subjective experience. In such spaces, we are confronted with an alternative aesthetic, one that is in conflict with the seamlessness of a closed space. A closed space is anchored on definite variables like structure, use and boundaries. While interaction between people and space is important, the space is tightly controlled and interaction is designed. Through this thesis project, I present a method that metaphorically transforms the experience of a walk through a closed space into an open-ended and immersive experience.
When space develops as a response to our actions, it affords intimacy and a sense of belonging. It facilitates deeper expressiveness through engagement. By applying a method that uses fragmentation, recurrence and motion, I am metaphorically transforming an urban closed space to open. Through this transformation I am creating a fresh person-space dialogue that temporarily destabilizes perception and encourages physical sensation which allows for an intimate experience of the space. An immersive interaction with an open space transgresses the urban sterility of a closed space and is capable of creating a diversity of distinct experiences.
35
Wise, Ruth E. "Design Research and Research Design: Application of Quantitative Methodology to the Design Process." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1219093105.
Full textAbstract:
Thesis (Master of Design)--University of Cincinnati, 2008.Advisor: Peter Embi MD (Committee Chair), Mike Zender MFA (Committee Member), Mark Eckman MD (Committee Member) Title from electronic thesis title page (viewed Jan. 17, 2009). Includes abstract. Keywords: design research; quantitative methodology; graphic design; visual communication; risk communication . Includes bibliographical references.
36
Murdock, Jason E. "Fluid identity: History & Practice of Dynamic Visual Identity Design." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1480096180818074.
Full text
37
Santos, André Luís Reis. "Design de informação: a utilização do design na composição da informação visual." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/18117.
Full textAbstract:
Made available in DSpace on 2016-04-29T14:23:17Z (GMT). No. of bitstreams: 1
Andre Luis Reis Santos.pdf: 7109531 bytes, checksum: a6a1492440a23adb897c54c456565a57 (MD5)
Previous issue date: 2013-01-29Visual information has become extremely important in the construction of a message that aims to communicate, however, the applicability of studies focused on visual communication and image still does not receive the same care as textual information. This paper aims to discuss the importance of image and how it is presented to the reader. For this, was used features of design and perception of the image to increase visual clarity. Gestalt, information design and editorial are part of this study. Two cases were analyzed, where visual communication caused wrong interpretation
A informação visual se tornou extremamente importante na construção de uma mensagem que tem como intuito a comunicação, entretanto, a aplicabilidade de estudos voltados à imagem e a comunicação visual ainda não recebem o mesmo cuidado como a informação textual. Esta dissertação tem como objetivo discorrer sobre a importância da imagem e da forma como ela é apresentada ao leitor. Para isso, foram utilizados recursos do design e da percepção da imagem para aumentar legibilidade visual. Gestalt, design de informação e editorial fazem parte deste estudo. Foram analisados dois casos, onde a comunicação visual causava interpretações erradas
38
Prillaman, Susan Carol. "The Effectiveness of Interior Design Students' Study Drawings in the Design Process." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/32687.
Full textAbstract:
Visualization is an important part of the design process. The sketches that are created during the design process are the visible evidence of the visualization that occurs in the brain. The process of designing involves a conversation that occurs between the student and the sketches created during problem finding and problem solving in the design process.
This conversation allows the student to progress through the design process manipulating both the drawn image on paper and the visualization that occurs in their mind until a fitting solution to the problem is found. This study sought a better understanding of this communication style and it's effect on designed final products.
Two methods of analysis were utilized in this research. Quantitative analysis was used to measure the correlation between quality of sketching process and the quality of the final designed product. Then multiple case studies were examined to describe in detail the design process styles of three students. First the sketches that were created during the designing of a student project were counted and then evaluated for sketch creativity and sketch efficacy. The final design products were evaluated for project creativeness and project function. Significant positive statistical correlations between the variables were observed.
In summary, the quality of sketches and visual thinking during the design process had a measurable positive effect on the final designed solution.Master of Science
39
Mendonça, Guilherme Clemente Coelho de. "Identidade visual corporativa do restaurante." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2019. http://hdl.handle.net/10400.5/20140.
Full textAbstract:
Dissertação de Mestrado em Design, com a especialização em Design de Comunicação apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.Para ter êxito, um projeto de Identidade Visual Corporativa tem que estar vinculado, principalmente, à capacidade de originar uma imagem otimista da marca que representa. Para que seja de fácil perceção e reconhecimento, é crucial certificar que existe uma unidade gráfica entre todos os elementos usados no sistema de comunicação. Esta investigação começou por reconhecer a necessidade de Identidade Visual Corporativa do Restaurante Marginal de Luanda, daí o mesmo ser o objeto de estudo para todo o projeto. No decurso da investigação foram traçados objetivos que conduziram o processo investigativo, na a criação de uma Identidade Visual Corporativa para o Restaurante Marginal de Luanda para fomentar os lucros do Restaurante e a satisfação do cliente, consolidando a cultura angolana em Lisboa; ganhar experiência na área do Branding. Para tal, foi feita uma avaliação ao tipo de clientes que frequentam o Restaurante; uma investigação às bases e origens do Restaurante; uma investigação à cultura da cidade que faz parte da imagem do Restaurante (Luanda); e também foram objeto de análise exemplos reais de Branding, dentro deste contexto e por fim, foi feita uma validação com a demonstração em ambiente simulado com a interpretação dos resultados. Toda a combinação destes elementos de pesquisa foi útil para a criação da Identidade Visual Corporativa do Restaurante.
ABSTRACT: To succeed, a project of corporative visual identity has to be linked, mainly, to the capacity of generating an optimistic image of the brand that it represents. In order for it to be easy to understand and recognize, it is crucial to ensure that there’s a pictorial unit between every element used in the communication. This investigation started by recognizing the need for Corporate Visual Identity of the Restaurant Marginal de Luanda and that is the reason why it is the subject of study of the whole project. In the course of the investigation, goals were outlined, so that they would lead to an investigative process in the creation of a Corporate Visual Identity for the Restaurant Marginal de Luanda to stimulate the profits of the restaurant and the client satisfaction, solidifying the Angolan culture in Lisbon; gaining experience in the Branding area. For this reason, it was made an evaluation of the type of clients that attend the restaurant; an investigation related to the bases and the origins of the restaurant; an investigation related to the culture of the city that is part of the image of the restaurant (Luanda); and actual examples were also object of analysis of the Branding in this context and finally, a validation was made with the demonstration in simulated environment with the interpretation of the results. The combination of these elements of research was useful to the creation of the corporative visual identity of the restaurant.
N/A
40
Romão, Alexandre. "Contextos gráficos. Grafismos e conteúdos gráficos da comunicação visual contemporânea na arquitetura e na cidade." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-03052007-154512/.
Full textAbstract:
Este estudo aborda grafismos e conteúdos gráficos da comunicação visual na arquitetura e na cidade, estruturado em sistemas de códigos cromáticos, tipográficos e morfológicos na elaboração de linguagens projetuais, e a partir de pesquisas de projetos gráficos e experimentos desenvolvidos nas disciplinas configurar processos na elaboração de linguagens e metodologias, com ênfase nas necessidades didático-pedagógicas no ensino da Comunicação Visual.This study it approaches drawings and graphical contents of the visual communication in the architecture and the city, structuralized in systems of chromatic codes, typographical and morphologic in the elaboration of project languages, on the basis of the research of graphical projects and experiments developed to disciplines, configuring processes in the elaboration of languages and methodologies with emphasis in the didactic-pedagogical necessities in the education of the Visual Communication.
41
Bomeny, Maria Helena Werneck. "O panorama do design gráfico contemporâneo: a construção, a desconstrução e a nova ordem." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-17112010-094224/.
Full textAbstract:
Tomando o design gráfico como eixo de observação, foram analisados os caminhos traçados na profissionalização dessa atividade e os fatores que levaram a mensagem a alcançar a forma gráfica atual. Nessa análise, foram consideradas as mudanças decorrentes não só da introdução da tecnologia digital, mas também das transformações de tendências e padrões culturais que determinaram o período estudado. Como ponto de partida foram utilizados os princípios modernistas, sistematizados pela Bauhaus e seqüenciados pelas diretrizes da Escola Suíça, que determinaram o papel do design gráfico como um transmissor neutro e cuja proposta era a claridade, a objetividade e a funcionalidade, por meio de formas universais e livres de valores regionais. O objetivo central foi analisar a perda da supremacia desses valores, acompanhada pela introdução da tecnologia digital, com novos equipamentos oferecendo novas ferramentas, possibilitando novos enfoques para a idealização dos projetos.Taking graphic design as an observation axis, the course followed in the professionalization of this activity and the factors that led the message to take its current graphical form were analyzed. In this investigation, not only the changes brought about by the introduction of digital technology were considered, but also the transformation of cultural trends and patterns which determined the period studied. Modernist principles were used as a starting point, as systemized by Bauhaus and arranged by the guidelines established by the Swiss School, which determined the role of the graphic design as a neutral transmitter and whose proposal was clarity, objectivity and functionality, through universal forms and freed of regional values. The main objective was to analyze the loss of supremacy of these values, accompanied by the introduction of the digital technology, with new equipments offering new tools, which enabled new approaches in the conceptualization of projects.
42
Kawasaki, Yuji. "Design gráfico sinestésico: a relação da visão com os demais sentidos na comunicação." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-12052010-104245/.
Full textAbstract:
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, potencializando os resultados do design gráfico na função de identificar, informar, instruir, apresentar e promover, através de uma idéia gráfica.This research has the aim to study synesthesia in graphic design, analyzing different graphical techniques and visual stimulations that forward or stimulate the different human beings feelings. To better understanding the relation among the visual signs and the others human being feelings, as smell, flavor, touch, sound and also observing the possible relation correspondence among them reflecting on its contribution on the communication process. Inside of each relation are presented synesthesia relation found by many researchers due to studies mainly related to psychodynamics of the colors, form psychology and gestalt, grouped by its relation by color, form, space form and texture. The found synesthesia relations serve as the main parameters to analyze different graphic parts of a recent production such as book covers, posters, packing among others. Considering the great growth of the information that we are submitted, the available medias, the market and the population in general, it is observed the necessity of projects each time more interesting, efficient and worried about the necessities of each market. This research aims to contribute to the determination of the resources which will permit to supply these necessities empowering the graphic design on the function to identify, to inform, to instruct, to present and to promote through a graphic idea.
43
Choukeir, Hojeily Joanna. "Youth in Lebanon : using collaborative and interdisciplinary communication design methods to improve social integration in post-conflict societies." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8920/.
Full textAbstract:
In 1995, the World Summit for Social Development identified social integration as one of the three overriding objectives for social and economic development. This priority arose following a century that ended with the collapse of many states and the sharpening of strife around the world. Social integration was seen as a pathway to reinforcing common identities, supporting cooperation and lessening the likelihood of violence and conflict. For the past 20 years, governmental, academic and third sector organisations – with the United Nations at the forefront – sought to improve social integration. However their methods and interventions have commonly been restricted to policymaking and dialogue practices. Peacebuilding and reconciliation are affected by communication within and amongst different groups. Nonetheless, the potential for communication design to contribute towards social integration remains unexplored. This practice-led communication design research focuses on 18 to 30 year old youth in Lebanon – an extreme case of a politically, religiously, geographically, culturally and linguistically segregated post-conflict generation. The research adopts an innovative, interdisciplinary(1.) and collaborative(2.) approach, to explore the contribution of communication design methods towards social integration interventions. The interdisciplinary and collaborative case study process spans seven stages of practice: Discover, Delve, Define, Develop, Deliver, Determine Impact and Diverge. I developed this process with Darren Raven in 2010, and have been testing and refining it over the past five years through the socially-focused design projects of BA Design for Graphic Communication students and staff at the London College of Communication. This process builds on the Design Council’s Double Diamond design process by incorporating stages from the National Social Marketing Centre’s process. Through these stages, the research developed several innovative communication design methods: Explorations, a cultural probes toolkit exploring young people’s local context; Road Trip, an autoethnographic journey preparing the researcher; Connections, an effective method for recruiting stakeholders; Expressions Corner, a confidential diary room for understanding young people’s experiences, attitudes and behaviours; Imagination Studio, a collaborative workshop series for developing social integration interventions; Imagination Market, an efficient platform for piloting these interventions; and a Social Impact Framework; to evaluate the impact of the interventions and research. These methods enhanced candid input from young people, reduced ethical tensions, and improved their engagement with the research. The methods also involved youth and wider stakeholders in understanding and reframing the problem, invited them to generate and deliver solutions, strengthened their sense of ownership and therefore the sustainability of the research outputs, and finally, built their capabilities throughout the process. The social integration interventions developed and piloted through the case-study research ranged from a citizen journalism platform reducing media bias, to a youth-led internal tourism service encouraging geographic mobility. The evaluation of the 24-hour pilot interventions demonstrated a positive shift in young people’s willingness to integrate. The social impact and social value assessment suggests that effective social integration interventions – such as the ones developed and piloted in the case study research – have higher chances of delivering positive social and economic outcomes for the communities involved. This practice-led research presents a number of contributions, the most significant of which is a methodology, process and set of methods highly transferable across social integration challenges worldwide. The research also provides social integration theory and practice with a clear demonstration of the value and potential of communication design to advance interventions from replication to innovation. To communication design theory and practice, the research makes the case for the value of interdisciplinary and collaborative principles in enhancing rigour and social impact. Finally, to the Lebanese context, the research provides in-depth qualitative insights on social group dynamics, segments, and behaviours, which act as an evidence-base to underpin future local interventions. Beyond this thesis, the knowledge gained from this research will be disseminated to the various relevant communities of practice – including researchers, designers, policy makers, and community development workers – in the form of Creative Commons licensed design guidelines, as well as presentations, capacity building workshops, and academic publications. The dissemination of knowledge hopes to inspire and enable these communities to adopt, adapt and build on communication design methods when addressing social segregation challenges within their varying contexts. Notes in the text: (1.) Drawing on disciplines such as social, political, behavioural, and psychological sciences. (2.) Engaging multiple stakeholders including young people, civil society, institutions, topic experts and policy-makers.
44
Cooper, Rae L. "Visualising Disillusionment with Politics: An Exploration of Remixed Media and Commercial Design Practices." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/405198.
Full textAbstract:
This research aims to further establish the position of visual communication design as an agent of meta-systemic political engagement. It responds to the question: “How can visual communication design visualise disillusionment with politics?” It explores creative responses to contemporary modes of environmental activism and the recent trend in non-traditional political participation, as well as critically reviews the role of visual culture in contemporary environmental protest movements. Through this exegesis, I explore the need for new modes of political engagement in Australia and critically analyse the work of key practitioners who employ visual art and design to engage with political issues. I use a practice-based research methodology and a range of methods, including visual discourse analysis, creative practice, public dissemination of visual communication, and peer review to address the research question. The results of this research are focused on a major creative outcome, in the form of a series of digital posters, which visualise disillusionment with politics through visual communication design, remixed media, collage, and absurdist imagery.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
45
Nicholas, Roland Allan George. "Visual communication using structural package design : curvilinear box pattern study exploring consumer appeal." Thesis, Georgia Institute of Technology, 2001. http://hdl.handle.net/1853/22347.
Full text
46
Hallak, Lilian Issa Anton. "An investigation of how design managers in organisations in Bahrain manage and evaluate visual communication design for strategic advantage." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11118.
Full textAbstract:
The role of visual communication design continues to increase in importance around the world. In Bahrain, organisations are increasingly considering visual communication design as a means of accomplishing organisational goals. The research aims to understand the process by which design managers in organisations in Bahrain manage and evaluate visual communication designs to gain strategic advantage. Even though the management of visual communication design has not yet been recognised as a separate category of design management in Bahrain, its processes and approaches may differ from other management applications. This research opens with a contextual overview of the visual communication design management field, before presenting an understanding of how visual communication design can be utilised as an innovative approach to the strategic structuring organisational thinking. Methods have been developed for investigating how Bahraini client design managers manage visual communication design projects. Observational studies and interviews with client design managers and creative directors have been conducted to obtain an understanding of the visual communication design process, together with evaluation procedures in the Bahraini context. These empirical investigations have led to the development of a conceptual framework that describes the visual communication design management process and the evaluation procedure that is carried out by client design managers in Bahrain. The remainder of this thesis explains the outcomes of each phase of the research. The unique contributions of this study are embodied in a discussion of the findings together with reflections and recommendations for those involved and interested in design management in Bahrain.
47
Foley, Marius. "High fidelity image tracing the emergence of a new constructed image /." Access electronically, 2004. http://ro.uow.edu.au/theses/285.
Full text
48
Körting, Guilherme. "A importância da cultura e do repertório cultural do designer gráfico no desenvolvimento de projetos de comunicação visual." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/115284.
Full textAbstract:
Os valores e a cultura dos designers fazem parte do processo projetual e podem ser considerados de extrema relevância, visto que a cultura do designer pode ser uma fonte de inovação e de criatividade no decorrer do processo projetual do design. Este trabalho aborda o papel das referências culturais do designer gráfico no seu processo de trabalho. Busca descrever como os designers gráficos atuantes no estado do Rio Grande do Sul, mais precisamente na cidade de Porto Alegre, percebem o efeito de suas atividades culturais e de seu ambiente cultural em seu repertório e na sua prática projetual. O estudo busca caracterizar a relação entre a cultura do designer e a prática de design gráfico, identificar a presença do repertório cultural no discurso dos designers gráficos e identificar os fatores que emergem como relevantes no discurso dos designers gráficos. Para isso foram realizadas entrevistas com seis designers gráficos atuantes em Porto Alegre. A análise das entrevistas sugere que, em todos os casos, o desenvolvimento profissional está relacionado com o repertório cultural, ficando claro o quanto esses designers reconhecem que sua atividade profissional é afetada por seu repertório e ambiente cultural. Foram identificados sete fatores que emergem como relevantes no discurso dos designers gráficos e que podem explicar suas trajetórias profissionais: formação orientada a uma profissão criativa desde a infância; busca por uma atividade criativa; influência das artes plásticas; conhecimento de outras culturas (viagens, história); aprendizagem por meio de troca com colegas experientes; ampliação constante do repertório (eventos culturais, cursos); e relacionamento com clientes.Values and culture of designers are part of design process and can be considered extremely relevant, since a culture of designer can be a source of innovation and creativity during design process of design. This study approaches the role of cultural references of graphic designer in their work process. Search describe how graphic designers actants in Rio Grande do Sul state, more precisely in the city of Porto Alegre, perceived the effect of their cultural activities and their cultural environment in their repertoire and their design practice. This study aims to characterize the relationship between culture of design and graphic design practice, identify presence of cultural repertoire in graphic designers' discourse and identify factors that emerge as relevant in the discourse of graphic designers. For that interviews with six graphic designers actants in Porto Alegre. Analysis of interviews showed that, in all cases, the professional development is related with cultural repertoire, becoming clear how much these designers recognize that their professional activity is affected by your repertoire and cultural environment. Seven factors were identified that emerge as relevant in the graphic designers’ discourse and may explain their professional trajectories: formation oriented to creative profession since childhood; search for creative activity; influence of visual arts; knowledge of other cultures (travel, history); learning through exchanges with experienced colleagues; constantly expanding repertoire (cultural events, courses); and customer relationships.
49
Dahl, Darren W. "The use of visual mental imagery in new product design." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ34546.pdf.
Full text
50
Sweetapple, Kate, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The rhetoric of distance : a model of the visual narrator in design." THESIS_CAESS_CAR_Sweetapple_K.xml, 2003. http://handle.uws.edu.au:8081/1959.7/752.
Full textAbstract:
This thesis describes the development of a model of the relationships between the designer and their visual outcome that is intended to assist the designers understanding and management of the viewer experience. To date the focus of design discourse has been towards theories of interpretation that offer methods to decode messages, one of the more significant being semiotics. The application of semiotic theory to the field of design has enabled a greater understanding of how meaning is produced in visual communication, it does not account for how the designer affects the type of engagement the viewer has with the material which is a significant aspect of the communication process. The aim of this research is to develop a model of the design/visual outcome relationship that will assist designer’s management of viewer experience. To develop this model, the author examined literary theory as it is a discourse that has analysed its own creative process extensively. While there are many useful parallels that can be drawn between design and literary discourses, it is the notion of distance that is the most useful for this research. Through modifying the textual devices used by an author to create these varying distances, a model that identifies four types of visual narrators was developed – Idiosyncratic, Implicit, Imperative and Esoteric. This research demonstrates the effectiveness of the design concept of distance as a method of analysis for design and proposes how the designers might adopt distance method for considering the viewer experience during the design process, as opposed to leaving it to semioticians to critique post-publicationDoctor of Philosophy (PhD) (Design)