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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.
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Are there ways to assess the objective value of the image? By first breaking down visual components and visual structure that are commonly used in image construction, this report will try to predict how a audience chooses to view an image. Through eye-tracking technology using a webcam to track the subjects' eye movement, these visual components validation will be tested. The result is presented as heatmaps; which illustrate the point of attention of the audience. The result is then compared with a hypothesis that was compiled in preparation for the examination. The result of the survey shows that potential off using eye-tracking for analysis, though the technology of using a web camera might not be the most suitable.
2
de, 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.
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Design is all about visuals, or that is what I have found out during this thesis, from the process materials to the outcome our main entry point to any problem is how will we solve it visually so it’s understandable for the general user. This aspect is problematic in itself due to the fact that we, as humans, understand the world and the things around using all our senses continuously, even though we can forget as visuals are so overpowering. There is a huge opportunity area in exploring our other senses and bringing them back to technology, and this can be seen in works in the past like Tangible Interactions [1] or Natural User Interfaces [2]. But in this moment in time, where all these new technologies like VR/AR and IoT are about to enter our lives and change them forever, this topic is more important than ever. We have already seen what happens when we turn humans into mere machines with some fingers as interactive inputs, and barely any senses to process all the information given to us. Now that these technologies are still young and malleable, we can direct the future to where we want it instead of being guided by the technology itself. To do this we need to reimagine the design process, not reinvent the wheel, but add experts which we currently leave behind and I argue are key to unlock these technologies, experts not only of the technological side of things but on the human side too, like physiotherapists and dancers. Add also people who we never think about when we think of VR like visually impaired users, which could make these technologies inclusive since early on, instead of as an afterthought like we usually do. Not only people, but we also need to add new materials to understand how we use our senses and explore ways that we can understand and explore them differently; like bodystorming and improv theatre because when things aren’t visual, how do you sketch it? A sketch turns into a video about movement. The end result provides a wide breadth of examples of the types of innovations that can come out of using these new design materials, and to open new frontiers. From a VR game with no visuals whatsoever to an AR location based story game, to a home sized multimodal operating system containing several different apps controlled through physical movement. The examples open up the space instead of closing into a single solution. This is just the tip of the iceberg, a hope that others will be inspired by it and continue with this journey that has just started, to guide the future into one that is more technological and at the same time more human than ever before. What we know is that VR does not equate Visual Reality.
3
Zanzi, Alice <1995>. "Applicazione di Visual Design". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15882.
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La mia tesi si focalizza sull'applicazione di Visual Design nei confronti dell'arte. Viene effettuata una ricerca per un linguaggio unico da poter utilizzare per la spiegazione delle opere d'arte e viene messa in pratica a favore di una piattaforma per artisti emergenti. L'elaborato sarà suddiviso in diversi processi: il primo riguardante uno studio teorico del Visual Design, il secondo riguarda la pratica in ambiti differenti e in fine verrà applicato, questo linguaggio, per la spiegazione di artisti emergenti e delle opere di questi ultimi.
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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.
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Isoda, 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/.
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Esta dissertação tem como objeto de estudo o desenho, entendendo-o como um fenômeno complexo que se situa na zona de tensão entre arte e técnica, fazer e pensar. É possível considerá-lo como meio, processo e fim. Os objetivos são mapear o significado da palavra desenho, analisar o fenômeno e também os procedimentos envolvidos na ação de desenhar. O trabalho foi dividido em três capítulos, sendo o primeiro voltado para as definições do termo estudado, a etimologia e estudos do desenho como processo; o segundo capítulo aborda algumas especificidades do desenho e desafios de elaborar uma pesquisa sobre desenho; e o terceiro capítulo reúne diversas entrevistas feitas com artistas e/ou teóricos especialistas no assunto. Consideramos esse estudo como teórico-visual, pois foram utilizados recursos gráficos como ferramenta de pesquisa, em conjunto com o material escrito. Exemplos: infografia, ilustração, diagramas, narrativas gráficas, entre outros. A abordagem da pesquisa é no âmbito da estética descrito por Pareyson, de modo que seja apenas especulativa e não normativa. Ou seja, buscando definir conceitos e não normas.The 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.
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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.
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Ibrahim, 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/.
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This research investigates the possibility of influencing users' motivation with visual persuasion. Visual persuasion is identified as the design triggers that affect users’ first impression, which is seen as the conceptualisation of motivation. While past research studied the effect of web design towards users’ motivation, not many are looking into the persuasive value of the visual design itself. It is foreseen that visual persuasion helps to produce a more persuasive website and consequently, has an impact on web users' first impression of the website. Once motivation is positively influenced, the likelihood for them to stay on a website long enough to influence certain behaviour will be higher. Hence, this research is designed to empirically measure the effects of persuasive visual design on people’s attitude and behavioural intention. The investigation is accomplished by looking at the causal relationship between the variables in the proposed persuasive visual design model. For this purpose, a persuasive model for the destination website is extended. In the persuasive visual design model for website design, the constructs are divided into two factors: 1) the hygiene factor that consists of perceived informativeness and usability as the underlying determinants and 2) the motivation factor that is predicted by perceived credibility, visual aesthetic, engagement and social influence. Meanwhile, users’ satisfaction and behavioural intention are identified as the observed variables.
In the early stage of the research, the measurement constructs were identified and pilot-tested. Two web prototypes (non-persuasive website and persuasive website) were developed for an experiment conducted in an actual online environment. Participants of the age 18 or older were recruited with the expediency of Facebook. Each of them was randomly assigned to evaluate a website and answer the relevant questionnaire. Participants were encouraged to invite their Facebook friends to also participate in the research. This makes the sample group non-representative as it relies heavily on volunteers.
Once the measurement model of the research is verified and validated, the conceptual model was analysed using Partial Least Squares - Structural Equation Modelling (PLS-SEM); amendments to the model were made as necessary. In general, the results show favourable outcomes as it confirms the significance of visual persuasion in affecting the first impressions on web design. The findings offer new insights into the role of visual persuasion in web design with respect to the relationships between predictors (dimensions of hygiene and motivation factors) and observed variables (users’ satisfaction and behavioural intention). From the theoretical perspective, the research contributes to the understanding of the persuasion process in an online environment. Furthermore, the identification of persuasive visual triggers could help web designers create more effective websites.
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McAulay, Ian Charles. "Visual descriptors : a design tool for visual impact analysis". Thesis, University of Plymouth, 1988. http://hdl.handle.net/10026.1/2401.
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This study is concerned with the development of a practical and effective form of computer-aided analysis of the visual impact of building development in rural areas. Its contribution is fourfold. Firstly, a conceptual model has been developed for the process of seeing in the context of visual impact analysis. Secondly, a mathematical model for a consistent series of visual descriptors has been devised. Thirdly, a suitable design tool has been devised to make use of visual descriptors in visual impact analysis. Fourthly, visual descriptors have actually been implemented as computer software. The concept of visual impact analysis is defined and placed within the wider context of landscape research. The problems faced by a designer in the context of visual impact analysis are identified and the concept of a 'design tool' is introduced and defined. A number of existing computer software packages, intended or used for visual impact analysis, are reviewed critically. The concept of 'visual descriptors' as measures to be used by designers is introduced and examined critically. A conceptual model is presented for the process of seeing in the context of visual impact analysis. A range of possible measures for use as visual descriptors is presented and developed further into a series of precise definitions. A method of implementing visual descriptors is presented together with formal algorithms for the derivation of eight visual descriptors. A software package incorporating these descriptors is presented and verification and case studies of its use carried out. Visual descriptors, as implemented, are assessed for their effectiveness as a design tool for visual impact analysis.
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Pimentel, Ronald Ward 1955. "Consumer preference for logo designs: Visual design and meaning". Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282334.
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Logo designs provide a quick visual shorthand for all the meaning, associations, and equity associated with a brand. Virtually all major companies utilize logos, but there is little theory-based research regarding logo design published in marketing and consumer behavior journals. Related research from psychology regarding preference for visual images has generally used special stimuli created for the laboratory that do not carry the meaning that logos acquire in the markerplace and consequently have very limited generalizability. This study seeks to begin to fill the void by examining preference for actual, familiar logo designs. An improved understanding of preference for logo designs can be a great advantage to a company considering a logo design change. The costs involved in such a change can be enormous. Beyond the cost of the services of graphic designers, a change in logo design incurs the cost of changing everything that displays the logo, and any lost sales that may result if the new design is ineffective in some way. The equity of the brand may be connected to the logo design, so a change in the design of the logo may have long-term implications. Many logos have evolved over the years through successive changes to keep the designs from becoming outdated. This study examined theoretical bases for such activity. According to adaptation-level theory (McClelland et al. 1953), individuals become adapted to an object or image due to experience with it. Slight changes to this adaptation level result in increased preference while drastic changes result in decreased preference. These effects are represented by the distinctive butterfly curve. The current study developed a technique that allows for differentiation of visual designs, indicating the degree of change. This was used to test whether adaptation-level theory applies to familiar logo designs. The results indicate a general preference for no changes in familiar logo designs. While practitioners make changes in logo designs that are consistent with adaptation-level theory, it appears that consumers react instead, in accordance with social judgment theory--they tolerate rather than prefer the changes.
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Agostinho, 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.
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Robb, David Allan. "Crowdsourced intuitive visual design feedback". Thesis, Heriot-Watt University, 2015. http://hdl.handle.net/10399/3142.
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For many people images are a medium preferable to text and yet, with the exception of star ratings, most formats for conventional computer mediated feedback focus on text. This thesis develops a new method of crowd feedback for designers based on images. Visual summaries are generated from a crowd’s feedback images chosen in response to a design. The summaries provide the designer with impressionistic and inspiring visual feedback. The thesis sets out the motivation for this new method, describes the development of perceptually organised image sets and a summarisation algorithm to implement it. Evaluation studies are reported which, through a mixed methods approach, provide evidence of the validity and potential of the new image-based feedback method. It is concluded that the visual feedback method would be more appealing than text for that section of the population who may be of a visual cognitive style. Indeed the evaluation studies are evidence that such users believe images are as good as text when communicating their emotional reaction about a design. Designer participants reported being inspired by the visual feedback where, comparably, they were not inspired by text. They also reported that the feedback can represent the perceived mood in their designs, and that they would be enthusiastic users of a service offering this new form of visual design feedback.
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Doronina, Sophia. "Basic elements of visual design". Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13064.
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GRIER, REBECCA ANNE. "VISUAL ATTENTION AND WEB DESIGN". University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1092767744.
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Bodley, Brittany Dee. "Visual storytelling through costume design". Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2825.
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Johnston, Allegra Christine. "Effective Visual Design for Proposal Writing". Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/31710.
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The field of document design has gained considerable attention over the past couple of decades. New technology has drastically increased the design possibilities for writers, and researchers are gaining greater insight into the way that readers interact with the visual elements of their texts. This has led to an explosion in the availability of guidance on document design, but there are still areas where the research is incomplete. One of these areas concerns a common but important type of document: the proposal. There are numerous guides on proposal writing, but most of them are concerned with content and give little attention to document design. Since successful proposals are crucial to both the business and non-profit arenas, it is important that the documents are accessible and make a good impression on reviewers. Good document design can help.
In this study I took the existing research on document design and developed a set of questions meant to address the different elements of document design. I tested a sampling of both grant proposals and contract proposals using those questions with a system of scoring based on Likert scaling. I combined the quantitative results with qualitative responses from interviews in order to gain insight regarding the overall effect of visual design elements in proposals. The results of this study showed that there are certain elements of document design (such as layout or contrast) that are important to proposals, but that non-design factors (such as cost or experience) usually outweigh the design for evaluation purpose.Master of Arts
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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.
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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.Esta 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
17
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.
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This 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.
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Weber, Sarah. "Visual Exploration of Cultural Intersections". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2790.
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Personal exposure to, and in-depth investigations of cultural artifacts can be used to inform visual explorations that represent the universal experience of existing in a world where cultural boundaries are blurred and constantly evolving. Cross-cultural understanding and visual language are expanded throughout the research and making processes, resulting in work that has increased resonance with diverse audiences. Artifacts are not only expressions of a specific group of people, but also reflections of societal influences on one’s thinking, creating, and experiencing the world. In an increasingly global society, there is more interaction between cultures, resulting in a greater exchange of beliefs and perspectives. Through this exchange, certain aspects of a culture are retained, while new approaches to form and material are also intro-duced. When culturally-specific methodologies and aesthetics are visually or conceptually layered, work is produced that communicates relevant, meaningful narratives about the intersection of cultures.
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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.
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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.
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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.
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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.
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Bruce, Neil. "Evolutionary Design for Computational Visual Attention". Thesis, University of Waterloo, 2003. http://hdl.handle.net/10012/900.
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A new framework for simulating the visual attention system in primates is introduced. The proposed architecture is an abstraction of existing approaches influenced by the work of Koch and Ullman, and Tompa. Each stage of the attentional hierarchy is chosen with consideration for both psychophysics and mathematical optimality. A set of attentional operators are derived that act on basic image channels of intensity, hue and orientation to produce maps representing perceptual importance of each image pixel. The development of such operators is realized within the context of a genetic optimization. The model includes the notion of an information domain where feature maps are transformed to a domain that more closely corresponds to the human visual system. A careful analysis of various issues including feature extraction, density estimation and data fusion is presented within the context of the visual attention problem.
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Lin, Jocelyn C. (Jocelyn Chia-San) 1979. "Computationally augmented visual & spatial design". Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/87267.
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Tseng, Tiffany. "Spatial-visual skills and engineering design". Thesis, Massachusetts Institute of Technology, 2009. http://hdl.handle.net/1721.1/54486.
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Thesis (S.B.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2009.Cataloged 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.
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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.
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Jessa, Munira. "Visual Sensitivity of Dynamic Graphical Displays". Thesis, University of Waterloo, 2005. http://hdl.handle.net/10012/894.
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Advanced display design, such as Ecological Interface Design (EID), makes extensive use of complex graphical objects. Research has shown that by following EID methodologies, supervisory operators have better performance with the EID displays (Pawlak and Vicente, 1996). However, past research does not consider the visual aspects of the graphical objects used in EID. Of particular interest is how different design decisions of graphical objects affect the performance of the objects used within that design. This thesis examines the visual sensitivity of dynamic graphical objects by examining features that make certain graphical objects visually superior for certain monitoring tasks. Previous research into the visual aspects of supervisory control with respect to emergent features, psychophysics and attention were considered in the investigation of the visual sensitivities of the dynamic graphical objects used. Research into static graphical objects, combined with prior work on emergent features has been merged to find emergent features that best show changes in dynamic graphical objects for the monitoring tasks investigated. It was found that for simple dynamic objects such as bars and polygon objects, a line changing in angle was the most noticeable emergent feature to show a departure from ?normal? state. For complex graphical objects, those target-indicator displays that mimic a ?bull?s eye? when at the target value should be used for displays that show observers when a target value has been reached. Abrupt changes in shape should be used in trend meters to show when variables or processes have changed direction. Finally, ?solid objects? that make use of vertical lines and shading should be used for comparison meters that compare two values and keep them in a particular ratio. These findings provide guidance for designers of dynamic advanced graphical displays by encouraging the consideration of visual aspects of graphical objects, as well as prescribing graphical objects that should be used in the types of tasks investigated.
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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.
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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.
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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.
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Rinaldi, Ricardo Mendonça [UNESP]. "Contribuição da comunicação visual para o design de superfície". Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/89704.
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rinaldi_rm_me_bauru.pdf: 4143199 bytes, checksum: 20b0218df19475e691fa9d8479f06d7f (MD5)Coordenação 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.
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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.
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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
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Rinaldi, Ricardo Mendonça. "Contribuição da comunicação visual para o design de superfície /". Bauru : [s.n.], 2009. http://hdl.handle.net/11449/89704.
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Orientador: Marizilda dos Santos MenezesBanca: 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
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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.
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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.
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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.
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Dissertação de Mestrado para obtenção do grau de Mestre em Design de Produto, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.O 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.
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Figl, Kathrin, Michael Derntl, Manuel Caeiro Rodriguez i Luca Botturi. "Cognitive Effectiveness of Visual Instructional Design Languages". Elsevier, 2010. http://epub.wu.ac.at/5647/1/b912.pdf.
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The introduction of learning technologies into education is making the design of courses and instructional materials an increasingly complex task. Instructional design languages are identified as conceptual tools for achieving more standardized and, at the same time, more creative design solutions, as well as enhancing communication and transparency in the design process. In this article we discuss differences in cognitive aspects of three visual instructional design languages (E²ML, PoEML, coUML), based on user evaluation. Cognitive aspects are of relevance for learning a design language, creating models with it, and understanding models created using it. The findings should enable language constructors to improve the usability of visual instructional design languages in the future. The paper concludes with directions with regard to how future research on visual instructional design languages could strengthen their value and enhance their actual use by educators and designers by synthesizing existing efforts into a unified modeling approach for VIDLs.
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Correia, 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.
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O presente relatório elaborado no âmbito da disciplina da Prática de Ensino Supervisionada, do Mestrado em Ensino de Artes Visuais no 3° Ciclo do Ensino Básico e Secundário, é referente à Prática de Ensino Supervisionada no primeiro e segundos semestres do ano lectivo 2009/201O. Prática que se desenvolveu na Escola Básica Integrada André de Resende com a orientadora cooperante Professora Maria João Machado, e na Escola Secundária Gabriel Pereira com a orientadora cooperante professora Luísa Gancho. Ambas as acções foram supervisionadas sob a orientação do Professor Doutor Leonardo Charréu. Para além dos Professores Orientadores, o presente núcleo n°2 constituiu-se pelos mestrandos, Eliezer Correia e Cátia Casquinha. O relatório da disciplina da Prática de Ensino Supervisionada divide-se em duas secções. A primeira secção que resulta da reflexão do que foi executado no primeiro semestre na Escola Básica Integrada André de Resende, e a segunda secção que corresponde ao segundo semestre na Escola Secundária Gabriel Pereira, ambas localizadas na cidade de Évora. ABSTRACT: The present report was realized to cover the activities developed in the curricular unit Supervised Teaching Practice ("Prática de Ensino Supervisionada"), of the Master in Visual Arts Teaching, in the 3rd Cycle of Basic and Secondary Education. lt is relative to the “Prática de Ensino Supervisionada” developed in the two semesters of the academic year 2009/201O held at the "Escola Básica Integrada André de Resende", cooperating with the advisor local teacher Maria João Machado, and at the "Escola Secundária Gabriel Pereira", with the advisor local teacher Luísa Gancho. 8oth actions were supervised under the guidance and scientific supervision of Professor Leonardo Charréu. Beyond these advisor teachers, the group N°2 was formed by the master students, Eliezer Correia and Cátia Casquinha. The report of the discipline of "Prática de Ensino Supervisionada" is divided into two sections. The first section that results from the reflection of the activity executed in the first semester at the "Escola Básica Integrada André de Resende", and the second section correspond to the second semester at the "Escola Secundária Gabriel Pereira”, both located in the city of Évora.
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Buwert, Peter. "Ethical design : a foundation for visual communication". Thesis, Robert Gordon University, 2016. http://hdl.handle.net/10059/1577.
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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.
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Pralle, Mandi Jo. "Visual design in the online learning environment". [Ames, Iowa : Iowa State University], 2007.
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Lee, Jeff S. "Videodisc-based visual database in design process". Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/21789.
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McGill, Miranda Clare 1973. "A visual approach for exploring computational design". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/68806.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes 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.
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Soares, Gonçalo Ducla 1977. "Audio-visual frameworks for design process representation". Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28477.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.Includes 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.
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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/.
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A dissertação Design e narrativa visual na linguagem cinematográfica localiza as origens do cinema e do design no contexto do projeto da modernidade e busca entender o papel que o artista moderno deve desempenhar neste fluxo de transformações e ambiguidades que teve início no século XIX. Assim, procura traçar como as novas formas de representação, consumo e entretenimento convergiram para o discurso visual da linguagem cinematográfica. Faz algumas considerações a respeito de recursos técnicos do cinema, a fim de tornar mais clara a discussão sobre narrativa visual. No texto dedicado às origens do design, localiza a fundação da Bauhaus no contexto da redefinição do papel do pensamento artístico e do artesanato em face da produção mecânica seriada. Propõe a Bauhaus como ponto de convergência da formulação teórica, da aplicação prática e do ato criativo que levariam ao desenvolvimento do design no século XX. Explicita a mudança da idéia de desenho como meio gráfico pelo qual se abstrai a forma, para desenho no sentido ativo de projeto: intuição de relações construtivas ou espaciais dentro da matéria. A partir deste estudo, realiza uma investigação dos aspectos imagéticos e projetuais nas concepções fílmicas do production designer Alex McDowell, assim como a descrição e a análise de quatro filmes desenhados por ele: Invasão de Domicílio, O Terminal, Minority Report e A Fantástica Fábrica de Chocolate. A apresentação desses filmes não segue uma ordem cronológica, sendo, sim, orientada por critérios estéticos e narrativos. A linha traçada parte da representação da realidade contemporânea de Invasão de Domicílio; passa pela experiência de O Terminal no qual parte de um aeroporto foi construída em estúdio ; é quebrada pela ficção científica Minority Report; até chegar ao cinema de fantasia de A Fantástica Fábrica de Chocolate.This 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.
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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.
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Today's smartphones are capable of accomplishing far more advanced tasks than reading emails. With the modern framework TensorFlow, visual object recognition becomes possible using smartphone resources. This thesis shows that the main challenge does not lie in developing an artifact which performs visual object recognition. Instead, the main challenge lies in developing an ecosystem which allows for continuous improvement of the system’s ability to accomplish the given task without laborious and inefficient data collection. This thesis presents four design principles which contribute to an efficient ecosystem with quick initiation of new object classes and efficient data collection which is used to continuously improve the system’s ability to recognize smart meters in varying environments in an automated fashion.
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Bordeleau, Francis Carleton University Dissertation Computer Science. "Visual descriptions, formalisms and the design process". Ottawa, 1993.
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Cunningham, Tierney. "An abridged visual history of graphic design /". Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/29.
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Thesis (B.F.A.)--California Polytechnic State University, 2009.Project advisor: Kathryn McCormick. Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.
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Ingram, Lucas Peter. "Visual design for the entertainment industry and beyond". Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3110.
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Oliveira, Fernando Jorge Matias Sanches. "Diagramas & marcas". Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/13974.
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Pickard, 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.
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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/.
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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.
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Bailey, Justin Gray. "The Airliner : capturing the essence of experience in visual form". Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1540.
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By breaking design down from a whole composed of individual parts, I work to create user experiences derived from spaces and the objects within them. These spaces and objects are brought together in their relationship with the human presence. By translating an experience into a physical environment, I, as a designer, am afforded the opportunity to introduce my own perception into the minds of others who enter the space.
In working with the idea of creating an experience as visual form, I wanted to create a space that evoked an experience we don't get in our everyday lives, a feeling of ascending into flight. Human designed environments have the ability to transport us from our current surroundings and into a unique environment that can affect us not just visually, but emotionally and physically through multiple senses of perception.
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Musa, 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.
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This Thesis focuses on the analysis of the situation of the Jordanian
advertising industry, with regard to the way it is perceived by the local public. The
identification of problems related to the effectiveness and quality of Jordanian
advertising is a reality perceived at different levels, namely that can be verified
either on social networks by professionals and academics in the area and the target
audience, as well as articles and other specialized communications. This issue,
therefore, constitutes the central theme of the investigation, which questions,
investigates, analyzes and summarizes the reasons that lead the Jordanian people
not to identify themselves with the advertising material produced locally, at the
same time that it has as reference other ads from other cultures and countries,
whether neighbouring Arab countries or from around the world. Thus, a review of
the literature on the subject is carried out, considering its current state of the art in
advertising itself, and the domain in which it operates.
The main research questions focus on what are the reasons that cause
dissatisfaction of the local public with current advertising, reflecting and pointing
proposals that contribute to these problems can be solved. The aim of the research
is to create the basis for a local advertising culture that raises the quality of Jordanian advertising for more engaging, creative and empathic experiences. In this
universe, several obstacles were defined and categorized as cultural, cognitive,
environmental and educational. The process that this thesis followed to answer this
question, involves the development of a social action of a pedagogical nature,
promoting tools of awareness, analysis and responsive diagnosis of advertising activity, aimed at practitioners of advertising communication in Jordan, in order to
introduce a critical analysis criterion that takes into account visual and conceptual
strategies, with regard to Jordanian cultural specificities. The research methodology
is mixed qualitative, non-interventionist at first, dedicated to literature review,
analysis of case studies or indirect observation, and, secondly, interventionist,
namely through the use of surveys, interviews, active observation, involved in the
project component validation process. It is concluded that presenting sufficient knowledge about the practice of advertising design, combined with critical thinking
and the definition of Jordanian cultural boundaries, constitutes a determining point
for raising the quality of local advertising;
RESUMO: Design de publicidade: a natureza desagradável do design de publi-
cidade digital e impressa na Jordânia
A presente Tese tem como foco a análise da situação da indústria publicitária
jordaniana, no que diz respeito à forma como a mesma é percebida pelo público
local. A identificação de problemas relacionados com a eficácia e com a qualidade
da publicidade jordaniana é uma realidade percepcionada em diferentes níveis,
nomeadamente passível de ser verificada quer em redes sociais por parte de
profissionais e acadêmicos da área e do público a que se destina, assim como em
artigos e outras comunicações especializadas. Essa problemática, constituise assim
o tema central da investigação, a qual questiona, investiga, analisa e sintetiza sobre
os motivos que levam o povo jordaniano a não se identificar com o material
publicitário produzido localmente, ao mesmo tempo que tem como referência
outros anúncios de outras culturas e países, sejam países árabes vizinhos ou de
todo o mundo. É, desse modo, realizada uma revisão da literatura sobre o tema,
considerando o seu atual estado da arte da publicidade em si, e do domínio em que
a mesma opera.
As principais questões da investigação incidem sobre quais são os motivos
que causam a insatisfação do público local com a publicidade vigente, refletindo e
apontando propostas que contribuam para que esses problemas possam ser
resolvidos. O objetivo da pesquisa é criar a base de uma cultura publicitária local
que eleve a qualidade da publicidade jordaniana para experiências mais
envolventes, criativas e empáticas. Nesse universo, vários obstáculos foram
definidos e categorizados como culturais, cognitivos, ambientais e educacionais. O
processo que esta tese seguiu para responder a esta questão, passa pelo
desenvolvimento de uma ação social de carácter pedagógico, promotora de
ferramentas de sensibilização, análise e diagnóstico responsivo da atividade
publicitária, dirigida a praticantes do design publicitário na Jordânia, a fim de lhes
introduzir um critério de análise crítica que leva em consideração estratégias visuais e conceituais, no que diz respeito às especificidades culturais jordanianas. A
metodologia da investigação é qualitativa mista, não intervencionista num primeiro
momento dedicado à revisão da literatura, análise de casos de estudo ou
observação indireta, e, num segundo momento, intervencionista, nomeadamente
por recurso a aplicação de inquéritos, entrevistas, observação ativa, implicados no
processo de validação da componente de projeto. Conclui-se que apresentar
conhecimento suficiente sobre a prática do design publicitário, combinado com o
pensamento crítico e a definição das fronteiras culturais jordanianas, constitui um
ponto determinante para a elevação da qualidade da publicidade local.
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Silva, 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.
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silva_jcrp_me_ia.pdf: 7683756 bytes, checksum: d84a9a5f0e2c556dc1fd254e0f563fa1 (MD5)A 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