Visual communication is a part of everyone's daily existence. It is a ubiquitous mode that shapes not only the environment that individuals inhabit, but the very identity of the individual. Graphic designers, who create the vast majority of the visual communication encountered, play a crucial role in the production of cultural identity. It is a necessity that designers understand that role, as agents of cultural production.[ethno]graphic design is an ever-evolving approach to graphic design which utilizes anthropological methods in the creative process. This document presents a collection of projects which take an anthropological approach to the design process, utilizing techniques developed by cultural anthropologists to aid the design process — primarily ethnographic fieldwork, participant observation, collaboration, multivocal representation and reflexivity.

[pt] Citado brevemente nos compêndios de história literária, o pioneiro editor Francisco de Paula Brito (1809-1861) é a personagem principal desta tese. Trata-se de deslocar o secundário ao plano principal, ou seja, de alçar o fundo à figura, para se observar literatura e história com base em uma perspectiva que considera suas condições materiais de produção e circulação. Partimos da premissa de que a instalação tardia de uma sistema comunicativo baseado na imprensa no início do século XIX teve consequências para as definições dos contornos do literário no Brasil. Foi esse atraso o que condensou imultaneamente três diferentes aspectos da atividade de edição – o capital, a autonomia intelectual e a voz – na figura de Paula Brito. Para descrever cada um desses aspectos, consultamos, além de textos históricos, periódicos e obras publicados à época. Com essa pesquisa não buscamos isolar cada um dos aspectos que caracterizam a edição, mas demonstrar que foi seu entrelaçamento, por vezes contingencial, o que promoveu a presença da escrita e da literatura no cotidiano da corte. É importante destacar que, apesar de utilizarmos as figurações do editor para estruturar a tese, Paula Brito transitava livremente por todas as funções do mundo letrado, e foi seu caráter múltiplo e ambíguo o que nos permitiu traçar relações entre atividades e conceitos aparentemente distantes como o tipógrafo e o autor, o manual e o intelectual, o corpo e o significado. Nesse sentido é exemplar a existência da Petalogica, sociedade litero-humorística em cujos registros observamos relações paradoxais que desenham um conflito produtivo na busca pelas fronteiras entre literário e não literário. / [en] Briefly mentioned in textbooks of literary history, the pioneering publisher Francisco de Paula Brito (1809-1861) is the main character of this thesis. The focus on his figure is a way to observe literature and history from a perspective that considers its material conditions of production and circulation. We start from the premise that belated installation of a communication system based on the press just on the beginning of nineteenth century had consequences for the definitions of the contours of the literary in Brazil. It was this delay which simultaneously condensed three different aspects of edition – capital, intellectual autonomy and voice – in the figure of Paula Brito. Aiming to describe each of these aspects we consulted historical texts, journals and articles published at the time. The research did not seek to isolate each of these aspects, but to show that contingencial interweaving between them promoted the presence of writing and literature in everyday Brazilian court. Although we use the figurations of the editor to structure the thesis, it is important to say that Paula Brito passed through freely by all functions of the literate world, and it was precisely its multiple and ambiguous character which allowed us to draw relationships between seemingly distant concepts and activities as typographer and author, intellectual and manual, body and meaning. Is exemplary in this sense the existence of Petalogica, literaryhumorous society where we could observe paradoxical relationships that draw a productive conflict in the search for boundaries between literary and non-literary.

Esta dissertação investiga os procedimentos e métodos empregados por designers de tipos para a concepção e o desenvolvimento de fontes digitais customizadas, associadas exclusivamente a sistemas de identidades visuais corporativos, explorando o potencial expressivo dessas tipografias, procurando identificar seus atributos conotativos, históricos, culturais e emocionais, assim como os possíveis significados e interpretações que estas formas podem evocar, com atenção especial para a tipografia contemporânea. Fontes digitais são elementos centrais para a consolidação de uma identidade visual, além do importante papel em muitas outras especia- lidades do design gráfico. O objetivo prático desse estudo é delinear as decisões adotadas no processo do design e da estrutura formal de seis fontes digitais personalizadas, para uso corporativo exclusivo, baseando-se em informações coletadas diretamente dos designers envolvidos, em textos publicados e análises próprias. Em um sentido mais amplo, o estudo visa colaborar com designers e contratantes de serviços de design tipográfico, sobre a necessidade de uma atenção mais ponderada no momento da escolha ou adoção dos tipos que compõem uma deter-minada identidade visual, considerando a tipografia um agente consolidador de uma identidade autêntica, por meio das qualidades formais, expressivas e conotativas dos tipos. Apesar da subjetividade nas avaliações que o tema envolve, o resultado observado é que a tipografia tem condições de carregar e transmitir a identidade de uma instituição, até mesmo nas situações em que a própria marca está ausente, assumindo o papel de transportar, juntamente com o conteúdo da mensagem, valores, comportamentos e personalidade. Neste contexto, a tipografia corporativa customizada, ou seja, aquela desenvolvida e adaptada especialmente para este fim, desempenha um importante papel, o que esta dissertação busca elucidar. / This work studies the procedures and methods used by type designers for conceiving and developing custom digital fonts used exclusively in corporate identity systems. By exploring the expressive potential of these fonts and with regard to contemporary typography, the nvestigation tried to recognize their connotative, historical, cultural and emotional attributes as well as possible meanings and interpretations these shapes may evoke. Besides playing an important role in many graphic design areas, digital fonts are key elements to corporate identities. This study\'s goal is to outline the decisions adopted in the process of designing and creating the formal structures of six custom digital corporate fonts, based on nformation from their designers, in published texts and the author\'s own analyzes. In a broader sense, the study draws attention of designers and clients who hire type design services, on the need for a more careful choice and or adoption of fonts that make up a particular corporate dentity. Thereby, the typography should be considered as an authentic agent for consolidating that identity through its formal, expressive and connotative qualities. Despite the subjectivity in the evaluation, the outcome is that the typography is able to carry and transmit the identity of a company or nstitution even when the the logo is absent. Along with the content of the message, it takes on the role of carrying the values, behavior and personality of the brand. In this sense, the customized corporate font, that s, the font specially developed or adapted for that purpose is believed to play a fundamental role which this study sought to find out.

Made available in DSpace on 2016-04-26T18:15:14Z (GMT). No. of bitstreams: 1 Christian David Rizzato Petrini.pdf: 93776803 bytes, checksum: 7746bf607a5d68e0343c296aea16a9ac (MD5) Previous issue date: 2015-06-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research intends to study the application of the dynamic typography in an audiovisual production the kinetic typography, i.e., a letterform or written word which presents movement and transformation as behavior. We consider our study, more precisely, on what we call Kinetic Captioning, a specific use of the moving types which implies the visual translation of a narrative sound through moving letterforms. This research aims to answer: what are the characteristics of the communication processes mediated by motion typography, that plays elements of an audio through moving types and plays based on a sound? Therefore, this research also intends to study the characteristics of this specific kind of moving letterforms as narrative, on a support where written and message, opposing printed materials, are not permanent, as in a movie for example, where the original image is replaced and rebuilt using a typesetting that moves, turns and disappears. The chronological order and the interaction of the words between themselves, with background and other graphic elements depends of an audio already created and setted up. The cases of this research consists on application examples of Kinetic Captioning in a film, a stand-up comedy show and a music. Several authors will be part of the research theoretical basis, among them we can mention Pierce; Santaella; Leão; Flusser; Mandel, Bellantoni, Woolman and Farias; considering their respective contributions to the study of language and signs; hypermedia language; encoding language; and development and application of writing and typography, from static to kinetic / A presente dissertação de mestrado tem por objetivo estudar a aplicação da tipografia dinâmica em um trabalho audiovisual a tipografia cinética, ou seja, uma letra ou palavra que apresente como comportamento a ideia de movimento e transformação. Centramos nosso estudo, mais precisamente, no que denominamos Legenda Cinética, uma forma específica de utilização dos tipos dinâmicos que implica na tradução de uma narrativa sonora através das letras em movimento. A presente pesquisa visa responder: quais as características dos processos comunicacionais mediados pela tipografia em movimento que reproduz, através da escrita em movimento, os elementos de um áudio e trabalha em função de um som? Portanto, esta dissertação pretende estudar as características dessa forma de utilização da tipografia em movimento como narrativa, em um suporte onde a escrita e a mensagem, diferente do que acontece no material impresso, não são permanentes, uma vez que em um filme, por exemplo, a imagem original é substituída e recriada por uma composição tipográfica que se move, se transforma e desaparece. Sendo que a ordem cronológica e a interação das letras e palavras entre elas, com o fundo e outros elementos gráficos, depende do sincronismo com um áudio já criado e predefinido. O corpus da pesquisa é composto por exemplos de aplicação da Legenda Cinética no cinema, no teatro e na música. Diversos autores compõem a fundamentação teórica da pesquisa, destacando-se Peirce, Santaella, Leão, Flusser, Mandel, Bellantoni, Woolman e Farias, pelas suas respectivas contribuições ao estudo da linguagem e dos signos; aos estudos sobre labirinto e linguagem hipermidiática; ao pensamento sobre a codificação da linguagem; e às pesquisas sobre o desenvolvimento e aplicação da escrita e da tipografia, desde a estática até a cinética

Objet de la vie quotidienne, la typographie est un produit socioculturel et un outil de délégation que l’homme place entre lui et le monde. Comment organise-t-il cette médiation ? Tel est l’enjeu principal de notre sujet.Située à la croisée de son faire et de son agir, elle est le résultat d’un processus cognitif dont les modalités de production et de circulation se fondent sur un principe de mise en relation communicationnelle d’ordre anthropogénique. En examinant l’étude de sa matérialité technique au regard de sa réalité culturelle, la typographie est autant envisagée comme un « appareil d’incarnation » – on parle de corps aussi bien pour la lettre que pour un texte – que comme creuset d’une pratique. À la fois instrument de perception et moyen d’action, elle permet, à l’échelle du caractère, l’invention typographique tout en donnant lieu à un double régime d’interprétations d’ordre technique et sémiotique. Si le parcours se déploie au cœur des pratiques de métiers liées à la conception de caractères et s’intéresse aux différents contextes d’énonciation typographique, il débouche sur une réflexion en réception, à propos des usages de la typographie, en tant que manipulation culturelle ouverte à tout un chacun, pour une ressaisie du monde. / As a daily life object, typography is a sociocultural product and transfer tool that people put between them and the world. How do they organize this mediation ? That is the main issue of our subject.At the crossroads of the doing and acting concepts, typography is the result of a cognitive process, which production and circulation’s methods are based on communication’s principles from the Henri Van Lier’s Anthropogeny. Studying its technical materiality according to its cultural reality, typography is considered as an “embodiment system” – in French, we call “body” the typeface as well as the text – and also as the crucible of this practice. As a sensitive agent and practical method, typography makes typeface invention possible while creating a double regime of interpretations based on its technology and semiotics. Whereas our words are related to trade practices which are then connected to type face design and various contexts of typographical enunciation resulting in a thought about reception. The fact is that uses linked to typography exist as cultural experiments accessible to all who desire it to challenge the world.

Cette thèse interroge la typographie contemporaine au prisme du postmodernisme des années 1980 jusqu'au début des années 2000 afin de montrer que celle-ci va au-delà du simple outil de communication visuelle et de technique d'impression. Dans ce but, cette recherche revient sur l'histoire de la typographie pour en soulever les problématiques récurrentes (idéal de beauté, lisibilité, pluridisciplinarité) retravaillées et ré-étudiées par le postmodernisme. Outre les effets stylistique, le postmodernisme se pose en opposition et réaction au modernisme qu'il remet en cause en tant que modèle dominant. Les problématiques qui découlent de cette remise en question, interrogent la légitimité du designer ainsi que sa place dans la société, dans le processus de création. La typographie et son statut sont parties prenantes de ce débat qui permet de l'extraire du simple objet imprimé. Cette thèse interroge donc la possibilité de considérer la typographie comme objet esthétique et critique qui pense et se pense, à partir des discussions et travaux de cette période, ainsi qu'en s'appuyant tout particulièrement sur la recherche en design. Cette démarche permet également de mettre en perspective la recherche et les savoirs actuels autour de la typographie afin de faire émerger les paradoxes de cette dernière et d'aboutir à sa redéfinition. / This thesis is about contemporary typography in the light of postmodernism from the eighties to the early years of the new millenium in order to show that it goes beyond the mere tool of visual communication and printing technique. So the research relates the history of typography and raises the recurrent issues (ideal of beauty, lisiblility, multi-disciplinarity) worked out and studied by postmodernism. Beside the stylistic effects, postmodernism stands out by reaction to modernism which it questions as a prevailing pattern. The deriving problems raise the question of whether the designer is legitimate and what his/her position in society is, in the creative process. Typography and its status are part and parcel of this issue which helps take it from the mere printed object. Thus, this thesis raises the question of whether it is possible to consider typography as an aesthetic and critical object which thinks, from the talks and works of that period, by particularly drawing upon research in design. This process also helps put into perspective the analysis and current knowledge around typography in order to develop its paradoxes and lead to re-define its goal.

Cette thèse de doctorat a pour but d’analyser le rapport entre le texte et l’image dans la littérature américaine contemporaine ; plus précisément, d’étudier cet entre-deux qu’est le roman visuel, un genre proposé en 2006 par Thierry Smolderen.Notre corpus principal est composé de deux romans, House of Leaves de Mark Z. Danielewski (2000) et Extremely Loud & Incredibly Close de Jonathan Safran Foer (2005), et de deux bandes dessinées, Jimmy Corrigan: The Smartest Kid on Earth de Chris Ware (2000) et Fun Home d’Alison Bechdel (2006). En postulant que ces deux genres, malgré leurs formes bien distinctes, partagent de nombreux points communs dans les procédés narratifs qu’ils emploient, il s’agit de procéder à un travail d’analyse en trois temps. Une première section est ainsi consacrée aux procédés visuels des récits étudiés, en particulier les cas où le texte acquiert des caractéristiques graphiques, et l’image des propriétés narratives. Nous nous intéressons ensuite à l’effet qu’ont ces procédés au niveau de l’espace paginal, et à la façon dont ils délinéarisent le récit et remettent en question les conventions temporelles et spatiales de la narration. Enfin, une dernière partie s’attarde sur le livre, à la fois en tant que motif et en tant qu’objet. En effet, le roman visuel ne représente pas uniquement une nouvelle manière d’aborder le rapport texte/image dans la littérature, mais il permet également d’envisager de nouvelles formes, au-delà des standards actuels ; nouvelles formes dont les ouvrages du corpus représentent les premiers exemples. / The aim of this PhD research is to study the relationship between text and image in contemporary American literature; in other words, to analyze the in-between represented by the visual novel, a genre introduced by Thierry Smolderen in 2006.My main corpus is made of two novels, Mark Z. Danielewski’s House of Leaves (2000) and Jonathan Safran Foer’s Extremely Loud & Incredibly Close (2005), and two comic books, Chris Ware’s Jimmy Corrigan: The Smartest Kid on Earth (2000) and Alison Bechdel’s Fun Home (2006). I start by assuming that those two genres, in spite of their distinctive characteristics, share similarities in their narrative techniques, and therefore suggest an analysis in three parts. First, I shall study the visual devices used by the above books, focusing in particular on the instances where the text becomes visual, and the image takes on narrative qualities. Then, a second part will concentrate on the way those devices emphasis the space of the page, and how they modify the narration by questioning its temporal and spatial conventions. Finally, I will analyze the book, as a motif and as an object in the corpus. The visual novel is not only a new way to approach the text/image relationship in literature; it also allows us to imagine new forms that go beyond the current standards, of which the books studied here are the first examples.

<p>U okviru disertacije predložen je nacrt za generisanje efektne kompleksnosti<br />štampanog oglasa na osnovu generisanja kompleksnih tipografskih odlika i<br />generisanja kompleksnosti slike. Predmet disertacije predstavljao je razvoj<br />modela efektnosti tipografije u štampanim oglasima na osnovu uticaja<br />semantičih odlika, odnosno kompleksnih odlika formalnih atributa slovnog<br />znaka. Predložen model dopunjuje postojeći prilaz uloge tipografije u<br />oglašavanju u okviru segmenta uticaja kompleksnih oblika tipografskog pisma.<br />Na osnovu predloženog modela projektuje se onlajn aplikacija za procenu<br />efektnosti odnosa između kompleksnih tipografskih odlika i slike koja ima<br />praktični značaj za proces grafičkog dizajna.</p> / <p>This dissertation proposes a framework for generating effective complexity of print<br />advertisements based on the generated complexity of typeface properties and image<br />complexity. The subject area of the dissertation was a development of a model for the<br />effectiveness of typography in print advertisements. The model takes into account the<br />effects of typeface semantic properties i.e. complex features of the letter&rsquo;s formal<br />attributes. This approach updates the existing model of the role of typography in<br />advertising. Specifically, it updates the category on the influence of the form<br />complexity. Furthermore, based on the proposed model, a concept fora n online<br />application is presented. The purpose of the application a practical assistance for<br />graphic designers which provides information on the effectiveness of the relationship<br />between the complex typeface properties and image complexity.</p>

My explorations and journey through life have led me to discover a connection in my work and responsibility as a visual communicator. My objective of communicating challenge, perception, and social stigmas through informed stories of individual lives is to provoke questions and spark moments of awareness in viewers. With this supporting manuscript, I hope to inform about my motivations through time including my personal, artistic, and historical influences. I will define graphic design as a fine art through the evaluation of artistic movements. I also intend to discuss design as a language and build a case for social awareness. Evaluating the process of my work will enlighten the technical aspects of my unique aesthetic and prove the success of my intention.

Cette thèse comprend trois expériences et deux prétests (N = 1135) dans lesquelles sont étudiés trois aspects fondamentaux du design statique des messages sur internet : son format (infographie, audio ou texte), sa couleur et sa typographie, sur la thématique du recyclage des déchets électroniques (études 1 et 2) puis à propos de la migration humaine (étude 3).L’étude des aspects graphiques est pertinente si l’on veut augmenter la force persuasive d’un message. Le format joue un rôle prépondérant (étude 1a), permettant à la fois de changer les attitudes, mais aussi d’ancrer ce changement dans le temps. Les couleurs, par contre, ne semblent pas faire varier la force persuasive du message ou amener les lecteurs à agir en faveur du recyclage (étude 1b). La typographie ne semble pas non plus jouer de rôle dans la dynamique persuasive, qu’elle soit jugée lisible ou peu lisible (étude 2). Des pistes théoriques concernant la personnalité des typographies et leur cohérence avec le contexte sont développées.L’analyse des composantes de l’ELM a révélé, dans chaque étude, le fort lien entre l’attitude des individus et leur sentiment de responsabilité personnelle envers la thématique abordée ainsi que leurs connaissances a priori. Nous avons également vu que les leviers de persuasion ne sont pas systématiquement les mêmes selon le besoin de cognition.Globalement, nous suggérons que les messages persuasifs doivent adopter un format permettant une analyse centrale à faible coût cognitif, utilisant une couleur principale et une typographie toutes deux lisibles et cohérentes avec la thématique développée, avec un argumentaire qui renforce le sentiment de responsabilité des lecteurs. / This thesis includes three experiments and two pre-tests (N = 1135) in which three fundamental aspects of static message design on the Internet are studied: its format (infographics, audio or text), its colour and typography, on the theme of electronic waste recycling (studies 1 and 2) and then on human migration (study 3).The study of graphic aspects is relevant if we want to increase the persuasive power of a message. The format plays a major role (study 1a), making it possible to change attitudes and to anchor this change over time. Colours, on the other hand, do not seem to vary the persuasive force of the message or to lead readers to act in favour of recycling (study 1b). Nor does typography seem to play a role in the persuasive dynamic, whether it is considered legible or difficult to read (study 2). Theoretical approaches regarding the personality of typographies and their coherence with the context are developed.The analysis of the components of the ELM revealed, in each study, the strong link between the attitude of individuals and their sense of personal responsibility towards the theme addressed as well as their a priori knowledge. We have also seen that the levers of persuasion are not systematically the same according to the need for cognition.We suggest that persuasive messages should adopt a format that allows for central analysis at low cognitive cost, using a main colour and typography that are both readable and consistent with the theme developed, with arguments that reinforce readers' sense of responsibility.