Dissertations / Theses on the topic 'Visual 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 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.
Pålsson, Nicholas. "Guiding the viewer using visual components : Eye-tracking for visual analysis." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74563.
Full textde, Cabo Portugal Sebastian. "Non Visuals : Material exploration of non-visual interaction design." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-182466.
Full textZanzi, Alice <1995>. "Applicazione di Visual Design." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15882.
Full textMejia, 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 textIsoda, Gil Tokio de Tani e. "Sobre desenho: estudo teórico-visual." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-12082013-100125/.
Full textThe subject of this thesis is the drawing (desenho) as a complex phenomenon situated in the tension area between art and technique, doing and thinking. It can be considered as means, process and goal. The objectives are to map the meaning of the word \"drawing\", analyze the phenomenon and also the procedures involved in the action of drawing. The work has been divided into three chapters: The first focuses on the definitions of the studied term, the etymology and the study of drawing as a process; the second chapter discusses some of the drawing specificities and the challenges of developing a research about it; and the last one gathers several interviews with artists and/or theoreticians that are experts in the field. We consider this study as both theoretical and visual, since as graphical features (computer graphics, illustration, diagrams, graphic narratives, among others) have been used as a research tool, combined with bibliography. The research approach situates itself in the context of aesthetics defined by Pareyson, so that it is only speculative and not normative. In other words, we defined concepts and not rules.
Medwetz, Abigail. "The Effects of Color on Visual Perception and Visual Clutter." Kent State University Honors College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1556373271322324.
Full textIbrahim, Nurulhuda. "Persuasive visual design model for website design." Thesis, Ibrahim, Nurulhuda (2018) Persuasive visual design model for website design. PhD thesis, Murdoch University, 2018. https://researchrepository.murdoch.edu.au/id/eprint/42354/.
Full textMcAulay, Ian Charles. "Visual descriptors : a design tool for visual impact analysis." Thesis, University of Plymouth, 1988. http://hdl.handle.net/10026.1/2401.
Full textPimentel, Ronald Ward 1955. "Consumer preference for logo designs: Visual design and meaning." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282334.
Full textAgostinho, Maria Raquel de Sousa Santos. "Design de comunicação e literacia visual." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/15110.
Full textRobb, David Allan. "Crowdsourced intuitive visual design feedback." Thesis, Heriot-Watt University, 2015. http://hdl.handle.net/10399/3142.
Full textDoronina, Sophia. "Basic elements of visual design." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13064.
Full textGRIER, REBECCA ANNE. "VISUAL ATTENTION AND WEB DESIGN." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1092767744.
Full textBodley, Brittany Dee. "Visual storytelling through costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2825.
Full textJohnston, Allegra Christine. "Effective Visual Design for Proposal Writing." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/31710.
Full textMaster of Arts
Veiga, Miguel Ângelo Silva. "Identidade visual territorial de Odivelas." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/17867.
Full textEsta investigação na área de Design de Comunicação, foca-se, em particular no Design de uma Identidade territorial para a cidade de Odivelas. Para este efeito, o estudo compreendeu a história e a cultura da cidade, os seus habitantes e visitantes, as diferentes culturas e estratos sociais. O Design de Comunicação tem o poder de criar imagens que representam conceitos ou ideias, e neste caso foi utilizado para suscitar uma imagem positiva da marca, procurando garantir-se sempre uma coesão gráfica entre todos os elementos usados no processo de comunicação. O Design de Identidades Territoriais requer um processo de avaliação e pesquisa, para a criação de uma marca que traduza a cidade e os seus valores e, com a qual os seus habitantes se identifiquem. No processo foi também importante estudar outros casos de identidades já existentes, não só a nível nacional como internacional, perceber se resultam e o impacto e as influências que tiveram no território quando foram utilizadas. A componente prática desta investigação foi acompanhada por representantes da Câmara de Odivelas que ajudaram na decisão dos valores a serem transpostos bem como do modo em como tal foi efectuado sendo por isso necessário o estudo de símbolos/imagens/ monumentos emblemáticos que sejam representativos da essência da cidade. Da metodologia fizeram parte métodos não-intervencionistas e intervencionistas, de base qualitativa concluindo a revisão da Literatura, a Observação Direta, Estudo de Casos e por fim a Investigação Ativa correspondente ao Desenvolvimento Projetual. Os resultados deste projeto foram bastante positivos na medida que aprofundámos conhecimentos sobre o passado e o presente do Município de Odivelas, criámos contacto com a população e ainda com peritos e especialistas em Design que acompanharam de perto toda a investigação. Também é de louvar a característica do trabalho ser realizado para a comunidade e para um bem maior de um Município.
ABSTRACT: In order to create a new Land Identity Design proposal for the city of Odivelas, this research studied its history, culture, inhabitants, visitors, different cultures and social statuses. Communication Design is a powerful tool, with an ability to create images that represent concepts or ideas. And in this case it was be used to connect a positive image to the brand, always ensuring a graphical cohesion between all of the elements used in the communication process. To create a brand that represents its city and values and lets its inhabitants identify with it, the Land Identity Design requires a process of evaluation and research, where it’s important to study other existing identity cases, not only nationally but also internationally, understanding whether or not they work and the impact and influences they had on the city when they were applied. This investigation was followed up by the representatives of the Odivelas assembly who helped with the decision making of the core values. It’s necessary to study all of the symbols, images and symbolic moments which represent the essence of the city. The study includes non-interventionist and interventionist methods, with a qualitative basis, including the revision of Literature, Direct Observation, Case Studies and Active Research corresponding to the Project Development. The results of this project were very positive as we learned knowledge about the past and the present of the Municipality of Odivelas, we created contact with the population and also with experts and specialists in Design that closely followed all the investigation. It is also praiseworthy for the work to be carried out for the community and for a greater good of a Municipality.
N/A
Tomita, Kei. "Visual Design As a Holistic Experience| How Students Engage with Instructional Materials of Various Visual Designs." Thesis, Indiana University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10606025.
Full textThis study explored factors thought to affect college students’ selection and experience of instructional materials by utilizing general procedures of Giorgi’s (2012) descriptive phenomenological psychological method and Spradley’s (1979) approach to interpretation. Twenty-five undergraduate students were asked to study finite mathematics materials after selecting from four sets of options, with the same content but different visual designs and formats. The entire process was observed, and students were interviewed about their experience. As a result of the analyses, students were found to select instructional materials that met their expectations, and such expectations had been defined or impacted by their various previous experiences. For example, students who believed that instructional materials should effectively deliver content selected materials based on the ease of navigation. Meanwhile, students who believed that instructional materials should attract them and engage them into learning selected materials based on the attractiveness of the materials. Students made decisions regarding which materials met their expectations almost immediately after looking at the materials. In addition, opinions regarding which materials allowed easier navigation or which materials appeared to be attractive were diverse. Furthermore, many students felt that the number of words was different in the materials although every word on the four materials was the same. One student even thought that the tone of the language was different in different materials. Students’ difference in perception regarding the content of the materials across different visual designs suggests that the affective perception of the visual design was powerful enough to influence students’ cognitive perception of the content. Overall, students’ difference in visual perceptions suggests that instructional content should be displayed in multiple different forms to comply with students’ diverse visual needs.
Weber, Sarah. "Visual Exploration of Cultural Intersections." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2790.
Full textThungren, 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 textWood, 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 textBruce, Neil. "Evolutionary Design for Computational Visual Attention." Thesis, University of Waterloo, 2003. http://hdl.handle.net/10012/900.
Full textLin, Jocelyn C. (Jocelyn Chia-San) 1979. "Computationally augmented visual & spatial design." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/87267.
Full textTseng, Tiffany. "Spatial-visual skills and engineering design." Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/54486.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (p. 49-50).
The purpose of this study was to determine whether students with strong spatial-visual skills tend to design more complex mechanisms for the undergraduate course Design and Manufacturing I. The Purdue Spatial Visualization Test was administered to 137 students enrolled in the course. Test scores were compared to student self-evaluations of experience with tasks associated with spatial reasoning such as building origami models and sketching. The complexity of 34 student robots was analyzed using metrics such as the percentage of moving components in the mechanism. Gender differences in scores on the spatial visualization test were significant, consistent with results of prior studies. A significant correlation between spatial reasoning and origami experience was found for male students tested. Most mechanism complexity criteria were not found to be significantly correlated with spatial-visual ability, although the correlation between the percentage of moving components and spatial test scores approached significance with a negative correlation. These results suggest that strong spatial-visual abilities may be used to simplify engineering design rather than increase its complexity.
by Tiffany Tseng.
S.B.
Salisbury, Leslie Denise Pinnel. "Automatic visual display design and creation /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6950.
Full textJessa, Munira. "Visual Sensitivity of Dynamic Graphical Displays." Thesis, University of Waterloo, 2005. http://hdl.handle.net/10012/894.
Full textAndrighetto, 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 textThe 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.
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 textRinaldi, Ricardo Mendonça [UNESP]. "Contribuição da comunicação visual para o design de superfície." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/89704.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
O Design Gráfico é uma profissão estabelecida com o advento das vanguardas artísticas do século XX. Enquanto atividade profissional, ele lida com o planejamento e projetos que envolvem a solução visual de problemas de comunicação e informação. O Design de Superfície, por sua vez, é a prática profissional comprometida com a elaboração de projetos para revestimentos e aplicação em produtos, atentando para os materiais e processos de fabricação empregados. A relação entre as duas áreas do Design está ligada, a princípio, pela característica bidimensional. No Brasil, o estudo acadêmico sobre o Design de Superfície está em plena evolução e algumas universidades lidam com o assunto. Analisar conceitos e características acerca das metodologias que compreendem tanto o Design Gráfico como o Design de Superfície torna-se um assunto atual e abrangente. Portanto, faz-se necessário o desdobramento conceitual e metodológico a fim de estabelecer relações e contribuições envolvidas no campo do Design Gráfico e empregá-los no Design de Superfície. Dessa forma, o presente estudo tem por finalidade verificar conceitos e funções particulares do Design Gráfico e estabelecer contribuições para o Design de Superfície. Os resultados deste estudo podem ser utilizados como suporte de ensino e prática profissional.
Graphic Design is a profession established with advent artistic vanguards of century XX. While professional activity, it works with planning and projects which involve the visual solution of communication and information problems. Then, The Surface Design is the professional practice pledged with elaboration of projects for coatings and application in products, attempting to production and materials in the processes. The realtions between both Design areas is connected, at first, by the two-dimensional characteristic. In Brazil, academic study about Surface Design is in evolution and some universities works with this subject. Analyze concepts and characteristics concerning methodologies that comprehend both Graphic Design becomes a current and including subject. Therefore, is necessary conceptual unfolding and methodological in order to establish relations and contributions involved in the field of Graphic Design and to employ them in Surface Design. Thus, the present study had for purpose to check concepts and particular functions of Graphic Design and to establish its relations and contributions for Surface Design. The results of this study can be used as teaching support and professional practice.
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 textPara 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
Rinaldi, Ricardo Mendonça. "Contribuição da comunicação visual para o design de superfície /." Bauru : [s.n.], 2009. http://hdl.handle.net/11449/89704.
Full textBanca: Anna Paula Silva Gouveia
Banca: Aniceh Farah Neves
Resumo: O Design Gráfico é uma profissão estabelecida com o advento das vanguardas artísticas do século XX. Enquanto atividade profissional, ele lida com o planejamento e projetos que envolvem a solução visual de problemas de comunicação e informação. O Design de Superfície, por sua vez, é a prática profissional comprometida com a elaboração de projetos para revestimentos e aplicação em produtos, atentando para os materiais e processos de fabricação empregados. A relação entre as duas áreas do Design está ligada, a princípio, pela característica bidimensional. No Brasil, o estudo acadêmico sobre o Design de Superfície está em plena evolução e algumas universidades lidam com o assunto. Analisar conceitos e características acerca das metodologias que compreendem tanto o Design Gráfico como o Design de Superfície torna-se um assunto atual e abrangente. Portanto, faz-se necessário o desdobramento conceitual e metodológico a fim de estabelecer relações e contribuições envolvidas no campo do Design Gráfico e empregá-los no Design de Superfície. Dessa forma, o presente estudo tem por finalidade verificar conceitos e funções particulares do Design Gráfico e estabelecer contribuições para o Design de Superfície. Os resultados deste estudo podem ser utilizados como suporte de ensino e prática profissional.
Abstract: Graphic Design is a profession established with advent artistic vanguards of century XX. While professional activity, it works with planning and projects which involve the visual solution of communication and information problems. Then, The Surface Design is the professional practice pledged with elaboration of projects for coatings and application in products, attempting to production and materials in the processes. The realtions between both Design areas is connected, at first, by the two-dimensional characteristic. In Brazil, academic study about Surface Design is in evolution and some universities works with this subject. Analyze concepts and characteristics concerning methodologies that comprehend both Graphic Design becomes a current and including subject. Therefore, is necessary conceptual unfolding and methodological in order to establish relations and contributions involved in the field of Graphic Design and to employ them in Surface Design. Thus, the present study had for purpose to check concepts and particular functions of Graphic Design and to establish its relations and contributions for Surface Design. The results of this study can be used as teaching support and professional practice.
Mestre
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 textThe 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.
Ribeiro, Marta Sofia Santos. "Iluminação emocional, percepção visual e bem-estar." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2013. http://hdl.handle.net/10400.5/12075.
Full textO projecto de investigação em questão recai sobre as áreas da energia e houseware, assim como da saúde e bem-estar, tendo como principal meio para o cumprimento do objectivo a área da iluminação. Foi pretendido o design de um produto de iluminação para espaços de saúde, passando por todas as fases de investigação inerentes até ao projecto prático final. Detectou-se que os espaços de saúde podem ser, por vezes, inóspitos e não criarem um ambiente adequado à quantidade de tempo despendido no local e ao tratamento a receber. Este projecto permitirá aos utilizadores a interacção e sucessiva modificação do ambiente que os rodeia através das características da sua iluminação, de modo a criarem um espaço que os faça sentir bem, independentemente de onde se encontram. Para a concepção do design final, foram tidas em consideração as diversas funções desenvolvidas no local e relações com áreas científicas intrínsecas. É necessário encarar a luz pela sua natureza e por todas as possibilidades que apresenta, não restringida, como maioritariamente se considera, pela simples aplicação de aparelhos de iluminação. É pretendido tirar o maior proveito da iluminação criada sempre em prol do utilizador – utente e profissional de saúde – apostando na iluminação funcional e também na iluminação emocional, jogando com a nossa percepção visual e física de um espaço. Foram investigadas as reacções provocadas nos indivíduos, as suas diferentes interpretações e capacidades de resposta aos ambientes, de modo a criar a melhor solução possível de acordo com o espaço de saúde estudado. Esteve implícita a elaboração de uma investigação completa e multidisciplinar, que englobasse diversas áreas de estudo, desde o Design de Produto ao Design de Iluminação, à Psicologia, à Ergonomia e à Biomédica: junção esta por vezes não encontrada e considerada necessária para a obtenção de produtos finais coesos e coerentes. Após prototipagem, o design foi testado junto dos utilizadores e especialistas, tendo sido o resultado muito positivo. A importância de produtos que possibilitam o bem-estar é reconhecida e a utilização do design criado, enaltecida. O forte interesse e fascínio pessoal deram início a toda a temática que, quando concebida, faz surgir o design de iluminação final, complementando a investigação teórica inicial e gerando a dissertação teórico-prática que aqui se apresenta.
ABSTRACT: The investigation project in question addresses the fields of energy and houseware as well as healthcare, being lighting the means to fulfil the objective of this project. The design of a lighting product for a healthcare facility was intended, going through all the inherent phases of investigation until reaching the final product. It has been perceived that healthcare spaces can sometimes be inhospitable for not allowing patients to enjoy an adequate environment that suits the amount of time spent at the location and the treatment to be received. This project will give users the chance of interaction and adjustment of their surroundings, only through lighting for the creation of an environment that makes them feel good, wherever they are. For the conception of the final design, the tasks developed at the facility and the association with other intrinsic areas of study were considered. It was necessary to face lighting by its own pure nature and by all the possibilities it presents us and not, as the majority of users believe, as a restricted item by the use of lighting devices to which it is usually applied. The intention was always to benefit the user – patient and healthcare professional – by exploring functional and emotional illumination, playing with our visual and physical perception of a space. People’s reactions caused by lighting were regarded as well as the different interpretations and answers to the created environments, towards designing the best possible solution regarding the studied healthcare facilities. The elaboration of a complete and multidisciplinary investigation, encompassing several areas of study, is required: from Product Design, Lighting Design, Psychology, Ergonomics and the potential connection to Biomedicine: a correlation which is not easily established but is considered to be necessary for this approach, as well as obtaining coherent final products. After prototyping, the design was tested together with the users and specialists and the results were extremely positive. The importance of products that enhance well-being was acknowledged and the usability of the design notoriously recognised. The strong personal interest and fascination with the studying of light prompted the whole thematic that resulted in the final illumination design, complementing the academic research and generating the theoretical and practical dissertation that follows.
Figl, Kathrin, Michael Derntl, Manuel Caeiro Rodriguez, and Luca Botturi. "Cognitive Effectiveness of Visual Instructional Design Languages." Elsevier, 2010. http://epub.wu.ac.at/5647/1/b912.pdf.
Full textCorreia, Eliezer David Marques. "Relatório da prática de ensino supervisionada realizado no agrupamento de escolas nº e de Évora na escola básica integrada André de Resende e na escola Secundária Gabriel Pereira." Master's thesis, Universidade de Évora, 2010. http://hdl.handle.net/10174/19398.
Full textBuwert, Peter. "Ethical design : a foundation for visual communication." Thesis, Robert Gordon University, 2016. http://hdl.handle.net/10059/1577.
Full textPralle, Mandi Jo. "Visual design in the online learning environment." [Ames, Iowa : Iowa State University], 2007.
Find full textLee, Jeff S. "Videodisc-based visual database in design process." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/21789.
Full textMcGill, Miranda Clare 1973. "A visual approach for exploring computational design." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/68806.
Full textIncludes bibliographical references (p. 137-139).
This thesis concerns the use of computers for learning about computational design and shape grammars. It discusses how software can be developed to create "microworlds" for designing, and how to take into account the needs of designers whilst retaining a transparency of process in computational design. The broader context pertains to the learning and practice of design. Through analysis of computation in a workshop setting, consideration is given to the role of the computer as a facilitator for designing with shape grammars. Prototype software for facilitating the learning of shape grammars, called Shaper2D, was created as a focus for this study. It is written in the Java programming language for cross-platform compatibility, and is available both as an applet and stand-alone application.
by Miranda Clare McGill.
S.M.
Soares, Gonçalo Ducla 1977. "Audio-visual frameworks for design process representation." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28477.
Full textIncludes bibliographical references (p. 97-100).
The design process is based on a recursive and iterative feedback between a designer's ideas and their physical representation. In most practices, this feedback takes place upon one single medium, which endows the designer with one single view on his ideas. However, having several views can contribute for a deeper and more informed critique of the physical representation of those ideas; ultimately it can lead to a better final product. In the first part of this study, the use of audio-visual interfaces as tools for representing the design process is proposed. The idea is to understand, through simulation, what beneficial effects a process based on multiple feedbacks can potentially have on the actual design. As such, five frameworks mapping graphics to sound were designed and implemented computationally. Although the referred interfaces were in fact designed as a means to support a claim, they mainly stand out as independent objects that carry a significance of their own. The second part of this research explores the relevance of these objects as media that yield new forms of audio-visual design, engage the user in design thinking, and support design education.
by Gonçalo Ducla-Soares.
S.M.
Machado, Ludmila Ayres. "Design e narrativa visual na linguagem cinematográfica." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-26032010-142901/.
Full textThis thesis, Design narrative and visual language in film locates the origins of cinema and design in the project of modernity trying to understand the role that the modern artist should play in this world of change and ambiguity that has beginning in the nineteenth century. The intent is to discover how new forms of representation, consumption and entertainment converged to the discourse of visual language film. The work makes some considerations about the technical resources of the cinema in order to clarify the discussion of visual narrative. In the text about the origins of the design, mentions the foundation of the Bauhaus in the context of redefining the role of artistic thought and craft in the face of mechanical serial production. The thesis proposes the Bauhaus as a point of convergence of the theoretical formulation, the implementation and practice and the creative act that would lead to the development of design in the twentieth century. Explains the change of the idea of the pictures as a graphic related to the abstract form, in order to the idea of a picture as an active project: intuition of constructive relations or space in the object. It is made an investigation of the image and design aspects in the process of filming of the production designer Alex McDowell. Four movies he designed have also been analyzed: Breaking and Entering, The Terminal, Minority Report and Charlie and the Chocolate Factory. These movies are not mentioned following a chronological order; the criteria was narrative and aesthetic. A line of the analysis of these selected movies begin at the representation of contemporary reality of Breaking and Entering; then goes to the experience of The Terminal in which part of an airport was built in the studio ; and is broken by the science fiction of Minority Report. Finally it ends with the fantasy movie of Charlie and the Chocolate Factory.
Lindqvist, Zebh. "Design Principles for Visual Object Recognition Systems." Thesis, Luleå tekniska universitet, Institutionen för system- och rymdteknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-80769.
Full textBordeleau, Francis Carleton University Dissertation Computer Science. "Visual descriptions, formalisms and the design process." Ottawa, 1993.
Find full textCunningham, Tierney. "An abridged visual history of graphic design /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/29.
Full textProject advisor: Kathryn McCormick. Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.
Ingram, Lucas Peter. "Visual design for the entertainment industry and beyond." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3110.
Full textOliveira, Fernando Jorge Matias Sanches. "Diagramas & marcas." Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/13974.
Full textPickard, Michael. "Informing pictorial design through visual science understanding- a design based approach." Thesis, University of Sunderland, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511328.
Full textKlotzel, 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 textThis 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.
Bailey, Justin Gray. "The Airliner : capturing the essence of experience in visual form." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1540.
Full textMusa, Moh'd Jamil Moh'd. "Advertising design: the unappealing nature of digital & printed advertising design in Jordan." Doctoral thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/31059.
Full textSilva, Júlio César Riccó Plácido da [UNESP]. "Artemídia [D]eficiente visual: processos e procedimentos artísticos aplicados ao corpo como suporte das percepções e sensações." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/86965.
Full textA não presença de luz costuma estar associada a situações infelizes e não favoráveis, como é o caso dos portadores de uma deficiência sensorial. Sua percepção do mundo baseia-se no que ele aprende por meio de outros sentidos. A pesquisa tem por objetivo desenvolver a problemática que envolve a pessoa deficiente visual e suas relações com a arte fotográfica e para compreender melhor esta relação contraditória, o pesquisador vendou seus olhos para experimentar a cegueira temporária em seis experiências. Paralelamente, foram realizados encontros com quinze pessoas com deficiência visual, observando e compartilhando informações sobre a fotografia, para o desenvolvimento do trabalho equivalente. Os processos artísticos e experiências do olhar o mundo e olhar-se aplicados durante a pesquisa, ajudaram os participantes e o pesquisador artemídia [D]eficiente a compreender as diferenciadas formas de ver
The absence of light is normally associated to sad and unfavorable conditions, as in the case of the Visually Impaired Persons. Their perception of the world is based on what is learnt through the other senses. The research aims to discuss the problematic involving the visually impaired persons and their relationships with photography and art. For better understanding this contradictory relation, the researcher has blindfolded his eyes to temporarily experiment blindness in six experiments. At the same time, meetings with fifteen visually impaired persons were organized to observe and share information regarding photography for the equivalent development of the work. The artistic processes, and the sightseeing and seeing yourself experiences applied during the research helped the participants and the artemídia researcher to understand the different ways of seeing