Thesis (M.S.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 77-80).

Darbe tiriamas knygų paaugliams dizainas Lietuvoje ir Latvijoje 1990-2009 m. Analizuotos knygos, kurios sulaukė skaitytojų, literatūrologų pripažinimo, buvo įvertintos knygų vaikams ir paaugliams konkursuose – viso beveik pusšimtis leidinių. Žvelgiant į knygą kaip į estetinę, kultūrinę vertę turintį objektą, tyrimu siekta išryškinti bei palyginti knygų paaugliams dizaino Lietuvoje ir Latvijoje ypatumus ištiriant šių leidinių apipavidalinimo elementus bei jų sąveiką. Siekiant šio tikslo, atskirose darbo dalyse atskleista knygos dizaino specifika, apžvelgta knygų apipavidalinimo raida XX a., įsigilinta į paauglių psichologiją, pristatyta knygų paaugliams atsiradimo istorija Vakarų pasaulyje bei Lietuvoje ir Latvijoje, ištirti minėtųjų šalių knygų paaugliams dizaino ypatumai. Atliekant tyrimą naudotasi aprašomuoju, aprašomuoju analitiniu, istoriniu, lyginamuoju, formaliosios analizės metodais. Darbe remiamasi kelių skirtingų disciplinų teorijomis. Pasitelkiamas tiek psichologijos mokslas, siekiant geriau pažinti paauglius ir jų poreikius, tiek grafinio dizaino teorija, padedanti atskleisti analizuojamų knygų apipavidalinimo ypatumus. Taip pat remiamasi poststruktūralistiniu požiūriu į grafinį dizainą: knygos apipavidalinimas laikomas tiek pat reikšmingu, kiek ir literatūrinis jos turinys, nes kiekvienas knygos elementas priklauso kultūrinių reprezentacijų tinklui ir pats savaime generuoja papildomas reikšmes. Atlikus tyrimą įvardinti atskirų knygos dizaino elementų bei jų... [toliau žr. visą tekstą] / This study investigates the design of books for teenagers in Lithuania and Latvia in years 1990 to 2009. Almost half a hundred books have been analyzed – the ones that received recognition of both readers and literary persons, and those which were well evaluated in the contests of books for children and youth. Looking into a book as if it was the object having both aesthetic and cultural value, the research has tried to reveal and to compare design peculiarities of books for teenagers in Lithuania and Latvia, examining design elements and their interaction. To achieve this aim, in separate parts of the research the specificity of book design is uncovered and its development in 20th century is reviewed. There is a focus on teenagers' psychology, the research paper also presents the history of how books for teenagers emerged in Western world, Lithuania and Latvia, and examines design peculiarities of books for teenagers in the above mentioned countries. To carry out the research such methods as descriptive, descriptive - analytical, historical, comparative and the method of formal analysis are used. The work is based on theories of several different disciplines. Psychological science is used to better understand teenagers and their needs. The graphic design theory helps to uncover design peculiarities of the books analyzed. Post structural approach to graphic design is also used – the design of the book is considered to be as important as its literary content, as each element... [to full text]

Šiame darbe aptariamos kinetinės tipografikos atsiradimo prielaidos: klasikinis modernizmas, šrifto įtaigos įteisinimas, kinas. Analizuojami ryšiai tarp kinetinės tipografikos ir naujųjų medijų. Kalbama apie kinetinės tipografikos vizualinę ir stilistinę raišką, estetinius siekius, atsižvelgiant į tipografikos modifikacijas. Įvardijami skirtumai tarp kinetinės tipografikos ir spausdintinės eksperimentinės tipografikos, išryškinama kinetinės tipografikos komunikavimo specifiką. / This work discusses about the main assumptions of kinetic typography: classical modernism, validation of the font suggestion,film. This work analyzes the connection between kinetic typography and new media. It is about visual and stylistic expression of kinetic typography, aesthetic aspirations, considering to modifications of typography. This work identifies the differences between the kinetic typography and printed experimental typography, it highlights the communication specifics of kinetic typography.

Typefaces contain explicit and implicit character in their appearance. They are valuable to the designer to convey an appropriate rhetorical voice. Typefaces can be powerful expressions for the persona of user groups and their specialized information. This interpretive exploratory study looked at design as research. Textual data was collected from several sources that revealed typeface trends. As a precedent, Helvetica and Times used on National Park plans forecasted Parks Canada’s preference for Helvetica Neue as the current display font family. The second case study revealed several recurrent typefaces used for titles and headings on Canadian Society of Landscape Architects’ professional journals. Lastly, survey data about landscape architects’ current typeface preferences showed a trend for certain styles and persistent connotations. The personality and physical characteristics of these preferences were synthesized into design guidelines and a typeface concept. This representative landscape architecture typeface is intended to promote professional salience and unity. / The continuity of this thesis will generate a digital design resulting in the release of a typeface taking approximately two years. The author will engage with professionals within landscape architecture and typography to ensure that the typeface development and assessment is holistic and fulfills the recommendations outlined by the key informant and popular literature. / Landscape Architecture Alumni Award

No description available.

Tipografika ir muzika: sujungus šias dvi sritis gimė tipografinis projektas „Aerofont”. „Aerofont” - tai erdvinės muzikinės raidės, kurias galima perskaityti, išgirsti ir jomis pagroti. Erdvinių muzikos raidžių funkcionalumas imituoja „aerofonų” (pučiamųjų) instrumentų šeimos sintezatoriaus veikimo principą, nes jomis galima perduoti intertekstinio pobūdžio žinutes. Šiomis raidėmis yra siekiama perteikti estetinę muzikos žinutę be paties autoriaus/atlikėjo, kitaip tariant, kiekvienas, naudodamasis „Aerofont” raidėmis, tampa atlikėju, nes tiek raidžių naudojimas, tiek ir garso skleidimas sukuria sąryšį tarp subjekto ir objekto arba leidžia perteikti ir sintezuoti estetinius bei kultūrinius potyrius. / Typography and music: by connecting these two fields, a typographic project „Aerofont” was born. „Aerofont” is a set of spatial musical letters, which one can read, hear and play. The function of these spatial letters imitates the principles of a synthesizer from an aerofone (wind) instrument family, because it is possible to send out inter-textual messages by using them. The purpose of the letters is to convey the aesthetical message of music without the author/performer. In other words, everyone becomes a musician using the „Aerofont” letters, because the usage of letters and broadcast of sound creates cohesion between the subject and the object and allows the aesthetical and cultural experience to be conveyed and synthesized.

The purpose of the research was to look at how editors at Gannett, America's largest newspaper chain, perceive the role of journalism graphics and graphic artists in the newsroom.Nineteen editors from newspapers of various circulation sizes, participated from across the country. They sorted Q statements that covered areas related to journalism graphics as: use of color, balancing graphics with other content, graphics relationship with design, reader needs, and how graphics serve literacy.An analysis of the Q statements collected for this study showed two distinct factor types. They were identified by this researcher as the Communitarians and the Zealots.The Communitarians were characterized as trying to balance graphics with other aspects of journalism such as story, photo and design in an attempt to put the reader first. They were unwilling to elevate graphics to a necessity in presenting a story. The Communitarians saw graphics as one tool among many to conveyinformation.The Zealots saw graphics as an absolute necessity for any worthy journalistic endeavor. They saw graphics as the answer to attracting young readers, to serving a population with literacy issues, and to enhancing any work the newspaper is doing. The Zealots rejected statements that did not show graphics in the most positive way.Two camps emerged within the Gannett ranks regarding journalism graphics. The Zealots hold on to the allure of color and graphics made popular by USA Today in the 1980s and early 1990s. Communitarians acknowledged that graphics are an effective tool, but considered the practice of similar importance with other methods of conveying information. / Department of Journalism

The objective of this creative project was the exploration of the new genre of Design Cinema, specifically to use typography and motion graphics to tell a story. Design Cinema is best defined as a hybrid form of moving image that falls between motion graphics and filmmaking. The secondary objective was to design and create three significant pieces of work in Design Cinema, which focuses on utilizing typography and graphics in an abstracted story-based environment.The stories illustrated come from the book of Psalms in the New International Version translation of the Bible. These are some of the oldest texts in the world. This body of work, completed in high-definition video, required a process of pre-production (treatment, storyboarding, and planning), production (shooting, lighting, and directing), and post-production (capturing, editing, compositing, and design). Bill Viola, Jem Cohen, and Michel Gondry have impacted the style and structure of my video work. / Department of Art

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaves [122]-124).

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 155-159).