A pesquisa busca alcançar novos aportes para estudos em infografia jornalística à medida que investiga qualidades, atividades profissionais e tecnologias envolvidas na produção de uma modalidade infográfica emergente, o infovis, contextualizada pelas potencialidades do meio digital e on-line, e sintonizada com práticas comunicacionais contemporâneas, que supera, em determinados aspectos, modelos infográficos anteriores. Com vistas a atingir nosso objetivo investigativo adotamos metodologia de pesquisa em duas etapas: 1) revisão conceitual de três referências teóricas fundamentais - visualização da informação, infografia jornalística e interatividade; e 2) proposta de análise de infovis com base na técnica de pesquisa de análise de conteúdo. Assim, o corpus empírico é constituído por 270 infovis de conteúdo temático político, sobretudo eleitoral, de quatro sítios jornalísticos - The New York Times, The Guardian, Folha de S. Paulo e O Estado de S. Paulo - veiculados entre jan. 2010 e dez. 2013. A partir de sistemático procedimento de análise elaborado segundo unidades e subunidades analíticas orientadas pelas três dimensões teóricas do dispositivo infovis (input, interface e output), obtivemos respostas codificadas para todas as peças do corpus. A leitura do formulário de análise preenchido gerou resultados e inferências sobre nossa amostra que apontam para aspectos produtivos pioneiros em infografia, como maior abertura comunicacional à audiência, emprego de ferramentas on-line e gratuitas para produção de infovis e utilização de tecnologia de atualização contínua dos dados visualizados. / The research seeks to offer new contributions for studies on journalistic infographics by investigating the qualities, professional activities, and technologies involved in the production of an emerging form of infographics, the infovis, within the context of the potential of online environments, in synch with contemporary communications practices, and which overcomes, in certain aspects, previous infographics models. In order to meet our research objective, we employed a two-stage method: 1) conceptual review of three fundamental theoretical subjects - information visualization, journalistic infographics, and interactivity; and 2) a proposal for the analysis of infovis based on the technique of content analysis research. Thus, the empirical corpus is made up of 270 examples of infovis with political thematic content, mainly electoral, from four journalistic websites - The New York Times, The Guardian, Folha de S. Paulo and O Estado de S. Paulo - published between January 2010 and December 2013. Based on a systematic procedure for analysis, organized by analytical units and subunits, as well as by the three theoretical facets of the infovis device (input, interface and output), we obtained codified responses for all pieces within the corpus. From the reading of the completed analysis form, results and inferences were generated for our sample, which point to pioneering productive features in infographics, such as greater communicative openness with the audience, use of free online tools for the production of infovis, and use of real-time technology for on-screen data

As the headline suggests, it's not always easy to find the right way, especially when it comesto places we have never visited before. To not find or not being able to orientate in a place can create some uncertainty and may ultimately give a negative experience. This study examines how spatial and visual elements can clarify the orientation of an already built space without making any major architectural changes. The roombeing examined in this studyis the Modern Museum's foyer in Stockholm and the work is written in the subject information design with a focus on spatial design.The methods used are room analysis containing a site analysis, observation and notation analysis and three qualitative interviews. Theories and previous research in orientation and wayfinding, experienceroom, Gestalt psychology and perception and the mental mapare involved in this study. With the help of thesetheories and previous research as well asempirics, a design proposal has been developed where the visitor is more likely to orient himself by creating clearer features. / Som rubriken antyder är det inte alltid så lätt att hitta rätt, det gäller speciellt när vi kommer till platser vi aldrig besökt innan. Att inte hitta eller att inte kunna orientera sig på en plats kan skapa en viss osäkerhet och kan i slutändan ge en negativ upplevelse. I den här studien undersöks hur rumsliga och visuella element kan förtydliga orienteringen i ett redan byggt rum utan att göra några större arkitektoniska ändringar. Rummet i studien är Moderna museets foajé i Stockholm och arbetet är skrivet inom ämnet informationsdesign med inriktning rumslig gestaltning. Metoderna som använts är rumsanalys som innehåller en platsanalys, observation och notationsanalys och tre kvalitativa intervjuer. Teorier och tidigare forskning inom orientering och vägledning, rumsupplevelse, gestaltpsykologi och perception och den mentala kartanberörs i arbetet. Med hjälp av dessateorier och tidigare forskning samt empirinhar ett gestaltningsförslag tagits fram där besökaren lättare ska kunna orientera sig genom att tydligare funktioner har skapats.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Os painéis de gráficos estatísticos conhecidos como dashboards são utilizados comumente naárea de Business Intelligence (BI) para a visualização de grandes sistemas organizados de dados. A presente dissertação propõe embasar o projeto de dashboards pelas teorias de Jacques Bertin, formuladas nas obras Sémiologie Graphique e La Graphique et le Traitement Graphique de linformation. Considerando este referencial, e ainda parâmetros do design de informação e da visualização de dados, foram desenvolvidos dashboards que apresentam dados sobre a política de reserva de vagas da Universidade do Estado do Rio de Janeiro, sistematizados pelo projeto de BI dessa instituição. O objetivo foi não apenas o de atender aos requisitos convencionais de um dashboard, mas sobretudo o de apresentar outras perspectivas informativas. Nesse sentido, investigam-se as especificidades dos métodos de Bertin e sua expansão para o domínio dos sistemas interativos. / The panels of statistical charts known as dashboards are employed in the area of Business Intelligence (BI) for the visualization of large-scale organized systems of data. This Masters Thesis proposes to base the design of dashboards by theories of Jacques Bertin, formulated in the books Sémiologie graphique and La graphique et le traitement de linformation. Considering this framework, and further parameters of information design and data visualization, it were developed dashboards that present data about the policy of quotas from the State University of Rio de Janeiro, systematized by the BI project of that institution. The goal was not only to meet the requirements of a conventional dashboard, but rather to present other perspectives of information. Accordingly, we investigate the specific methods of Bertin and its expansion into the area of interactive systems.

La presente investigación basada en que el diseño gráfico puede contribuir en la difusión de información sobre Protección y Bienestar Animal tiene como objetivo diseñar una propuesta infográfica que ayude a informar sobre la ley de manera más interactiva y atractiva. La metodología que se está usando tiene un enfoque cuantitativo por lo que se han utilizado técnicas de recolección de datos como encuestas mediante un cuestionario con preguntas específicas que permitan conocer al público y testeo del producto. La solución que se plantea para solucionar el problema es el diseño de una infografía interactiva, la cual tuvo un impacto positivo en los usuarios. Los resultados arrojaron que la solución propuesta resulta atractiva e interesante (88.5% de los encuestados) y no presenta dificulta en la comprensión del contenido (84.6%). Por lo que se concluye que existe un problema de difusión de información sobre la ley de Protección y Bienestar Animal y la propuesta infográfica resulta un recurso útil. / Trabajo de investigación

This thesis work in information design with a focus on spatial design is about how people's needs, in addition to the natural ones, can be considered in a handicap toilet to include a broader target group. The study is a case study and was conducted together with the research institute Rise Sics, which is a multicultural company with employees of different ages. The empirical material that has been collected is through participatory observations, questionnaire surveys and focus groups. The study's questions are answered with the help of the collected empirical data and of the chosen theories about how a room can be made available through color and light and with principles in interaction design: affordance, signifiers, constraints, mappings, feedback and conceptual model. The aim of the study has been to deliver a design proposal that shows a breadth of inclusion aspects. The hope of the study is that it will inspire a change in other public toilet spaces, as the study has shown a need to change the toilet culture that exists today. / Det här är ett examensarbete inom Informationsdesign med inriktning rumslig gestaltning. Studien handlar om hur människors behov, utöver de naturliga, kan inkluderas på en handikapptoalett för att inkludera en bredare målgrupp. Undersökningen har gjorts som en fallstudie tillsammans med forskningsinstitutet Rise Sics i Västerås som är ett mångkulturellt företag med anställda i olika åldrar. Det empiriska material som har samlats in är genom deltagande observation, enkätundersökning och fokusgrupp. Frågeställningen i arbetet besvaras med hjälp den insamlade empirin samt av valda teorier om hur ett rum kan tillgängliggöras genom färg och ljus samt med principer inom interaktionsdesign: affordance, signifiers, constraints, mappings, feedback och conceptual model. Målsättningen med studien har varit att leverera ett gestaltningsförslag som visar på en bredd när det gäller inkluderingsaspekter. Förhoppningen med studien är att den ska inspirera till en förändring på andra allmänna toalettutrymmen, då det genom arbetets gång visat ett behov av att förändra toalettkulturen som finns idag.

The iTour Project is an empirical study of the design of online interactive animated tours (iTours), and establishes a knowledge base for technical communicators and new media designers working in this area. The key objectives of this research were to understand the features of effective iTours; to explore the processes and techniques of designing and testing effective iTours; and to establish new praxis in new media design for technical communication. Design artefacts resulted from six key activities including: (1) Sub-project 1- RMIT Multimedia Online documentation with basic animation; (2) Sub-project 2- Online @ RMIT Orientation with some iTour animation; (3) Third-party iTour analytical review to deconstruct iTours and determine key elements; (4) Sub-project 3- Online @ RMIT iTours; (5) iTour Guidelines; and (6) A second, more comprehensive third-party iTour analysis to test the Guidelines. The outcome of the research is encapsulated in a web site that binds the artefacts of design sub-projects with a set of Guidelines. These Guidelines form a conceptual, structural and operational framework for iTour designers, and draw on the knowledge established while designing and testing iTours, analysing third-party iTours, and researching comparative fields. These fields include technical communication; new media; web; usability design and testing; and, to a lesser extent, software design and testing. The Guidelines, in conjunction with the knowledge base, were developed to facilitate effective communication through iTours. Through this research, the design action case study was established as a hybrid research approach: design research and action research are blended; and knowledge is situated within, and derived from, a case study. In support of design research, the PDIOR design cycles have been specified and include these phases: plan; develop; implement; observe; and reflect. The PDIOR approach combines design research and action research in a cyclical mode to explore technical communication and new media activities. Finally, eleven principles for designing effective iTours emerged from this research project. Articulation of these principles, in addition to the Guidelines, contributes new knowledge in the field for technical communicators, new media designers and others, who wish to engage in iTour design.

The prospect of computer applications making "noises" is disconcerting to some. Yet the soundscape of the real world does not usually bother us. Perhaps we only notice a nuisance? This thesis is an approach for designing sounds that are useful information rather than distracting "noise". The approach is called TaDa because the sounds are designed to be useful in a Task and true to the Data. ¶ Previous researchers in auditory display have identified issues that need to be addressed for the field to progress. The TaDa approach is an integrated approach that addresses an array of these issues through a multifaceted system of methods drawn from HCI, visualisation, graphic design and sound design. A task-analysis addresses the issue of usefulness. A data characterisation addresses perceptual faithfulness. A case-based method provides semantic linkage to the application domain. A rule-based method addresses psychoacoustic control. A perceptually linearised sound space allows transportable auditory specifications. Most of these methods have not been used to design auditory displays before, and each has been specially adapted for this design domain. ¶ The TaDa methods have been built into computer-aided design tools that can assist the design of a more effective display, and may allow less than experienced designers to make effective use of sounds. The case-based method is supported by a database of examples that can be searched by an information analysis of the design scenario. The rule-based method is supported by a direct manipulation interface which shows the available sound gamut of an audio device as a 3D coloured object that can be sliced and picked with the mouse. These computer-aided tools are the first of their kind to be developed in auditory display. ¶ The approach, methods and tools are demonstrated in scenarios from the domains of mining exploration, resource monitoring and climatology. These practical applications show that sounds can be useful in a wide variety of information processing activities which have not been explored before. The sounds provide information that is difficult to obtain visually, and improve the directness of interactions by providing additional affordances.

Right now you are reading a sentence. Earlier, you might have been looking at a realistic picture, such as a photograph, or an outline drawing in a set of instructions. If you are a programmer, you work with sentence-like structures, such as code, or a system diagram. These are all graphic representations. To varying degrees, the effectiveness of every graphic representation relies on its ability to convey the designer’s intended meaning and elicit the intended reaction from its audience. However, the design of graphic representations, even in technical domains such as visual programming language design or interactive information visualization, currently relies heavily on general principles based solely on practice, intuition, and informal measures of effectiveness from the applied art and craft of design (as opposed to scientific analysis or theory). There is an increasing demand for a scientific understanding of design and its evaluation from stakeholders (who seek evidence for effectiveness) and designers (who seek to advance their field). Because both the creation of graphic displays and their perception are literally embodied experiences, a model was developed with an embodiment orientation, specifically based on how graphics are perceptually and cognitively processed. In my research, I found that graphic representations are constituted of two properties, pictorial and symbolic information, that emerge through two interrelated aspects of perception. In sighted individuals, for example, every graphic representation makes use of biological capabilities to process visual sensation (i.e., light hitting the retina), which are processed in relation to culturally-learned capabilities (i.e., writing). I observed how graphic representations – such as pictures, diagrams, and sentences – are “naturally selected” (i.e., during different phases of design or problem solving). From these observations, I developed a model that distinguishes and predicts the effectiveness of pictures, diagrams, and sentences, in terms of how object relations and attributes are pictorially or symbolically represented, relative to the functional roles of those representations, contexts, and in some cases, individual perceptual-cognitive differences among perceivers. This model is a step toward a science of graphics that could lead to evaluation techniques for information systems, theories for inclusive design, and ergonomically designed software programming tools.

This research concerns the information design and visual design of graphical user interfaces (GUI) in the condition monitoring and condition-based maintenance (CBM) of production equipment. It also concerns various communicative aspects of a GUI, which is used to monitor the condition of assets. It applies to one Swedish vendor and its intentions to design information. In addition, it applies to the interaction between the GUI and its individual visual elements, as well as the communication between the GUI and the users (in four Swedish paper mills). The research is performed as a single case study. Interviews and observations have been the main methods for data collection. Empirical data is analyzed with methods inferred to semiotics, rhetoric and narratology. Theories in information science and regarding remediation are used to interpret the user interface design. The key conclusion is that there are no less than five different forms of information, all important when determining the conditions of assets. These information forms include the words, images and shapes in the GUI, the machine components and peripherals equipment, the information that takes form when personnel communicate machine conditions, the personnel’s subjective associations, and the information forms that relate to the personnel's actions and interactions. Preventive technicians interpret the GUI-information individually and collectively in relation to these information forms, which influence their interpretation and understanding of the GUI information. Social media in the GUI makes it possible to represent essential information that takes form when employees communicate a machine’s condition. Photographs may represent information forms as a machine’s components, peripherals, and local environment change over time. Moreover, preventative technicians may use diagrams and photographs in the GUI to change attitudes among the personnel at the mills and convince them, for example, of a machine’s condition or the effectiveness of CBM as maintenance policy.

Right now you are reading a sentence. Earlier, you might have been looking at a realistic picture, such as a photograph, or an outline drawing in a set of instructions. If you are a programmer, you work with sentence-like structures, such as code, or a system diagram. These are all graphic representations. To varying degrees, the effectiveness of every graphic representation relies on its ability to convey the designer’s intended meaning and elicit the intended reaction from its audience. However, the design of graphic representations, even in technical domains such as visual programming language design or interactive information visualization, currently relies heavily on general principles based solely on practice, intuition, and informal measures of effectiveness from the applied art and craft of design (as opposed to scientific analysis or theory). There is an increasing demand for a scientific understanding of design and its evaluation from stakeholders (who seek evidence for effectiveness) and designers (who seek to advance their field). Because both the creation of graphic displays and their perception are literally embodied experiences, a model was developed with an embodiment orientation, specifically based on how graphics are perceptually and cognitively processed. In my research, I found that graphic representations are constituted of two properties, pictorial and symbolic information, that emerge through two interrelated aspects of perception. In sighted individuals, for example, every graphic representation makes use of biological capabilities to process visual sensation (i.e., light hitting the retina), which are processed in relation to culturally-learned capabilities (i.e., writing). I observed how graphic representations – such as pictures, diagrams, and sentences – are “naturally selected” (i.e., during different phases of design or problem solving). From these observations, I developed a model that distinguishes and predicts the effectiveness of pictures, diagrams, and sentences, in terms of how object relations and attributes are pictorially or symbolically represented, relative to the functional roles of those representations, contexts, and in some cases, individual perceptual-cognitive differences among perceivers. This model is a step toward a science of graphics that could lead to evaluation techniques for information systems, theories for inclusive design, and ergonomically designed software programming tools.