L’industrie publicitaire est un travail quotidien de collaboration entre deux « hémisphères » distincts : l’un de nature commercial et l’autre de nature créatif. Des individus qui favorisent des aspects logiques et rationnels se doivent de collaborer avec des individus qui favorisent des aspects intuitifs et artistiques, ce qui suscite des tensions. Cette mise en relation s’opère au travers d’un processus, que nous nommerons processus de design visuel communicationnel car il permet de relier la communication au design, approche que nous adoptons dans ce mémoire. L’industrie publicitaire s’est dotée d’outils permettant de faciliter le processus de design visuel communicationnel, dont le brief créatif. Notre recherche propose d’observer la manière dont les « commerciaux » et les « créatifs » perçoivent leur travail quotidien en agence et comment le brief créatif est réquisitionné. Nous adoptons une posture interprétative pour tenir compte de la complexité du phénomène et nous mobilisons une série d’entrevues pour répondre à nos questions de recherche. Nos questions de recherche sont les suivantes : de quelle manière les « commerciaux » et les « créatifs » négocient-ils les tensions lors du processus de design visuel communicationnel? Quels rôles le brief créatif occupe-t-il au sein de ce processus? Les résultats nous renseignent sur les transformations et les innovations qui émergent des tensions entre les « commerciaux » et les « créatifs » et sur l’importance que revêtent les caractéristiques communicationnelles du brief créatif dans le cadre du processus de design visuel communicationnel. / The advertising industry involves a daily collaboration between two ways of thinking or two hemispheres: one of commercial nature and the other of creative nature. Rational and logical individuals must collaborate with intuitive and artistic individuals, and from this collaboration emerge various tensions. In the advertising industry, this relationship operates throughout a process of visual communication design. We chose to use the term visual communication design process because it illustrates our approach in this research, an approach that joins communication and design. The advertising industry has developed tools to facilitate the visual communication process: among them the creative brief. Our research proposes to observe how “commercials” and “creatives” in the industry perceive their day-to-day work and their use of the creative brief through a series of interviews. Our questions are: in which ways do the “commercials” and “creatives” negotiate the tensions that emerges from the visual communication design process? What are the roles of the creative brief throughout this process? Our findings illustrate the transformations and innovations that emerge from the tensions between “commercials” and “creatives” and highlight the importance of the communicational characteristics of the creative brief as part of the visual communication design process.

Many designers today are creating communication materials that encourage individuals to change their behavior related to environmental issues. The problem is that people are often unaware of existing research on effective methods for these communications. For example, environmental psychologists have studied best practices for creating persuasive communications for several decades. During this yearlong master’s thesis project, I conducted my own research studies, exploring how the emotional tone and medium of a communication piece affect a person’s decision to change his or her behavior. My second goal was to connect designers to existing research in the fields of psychology, decision sciences, and persuasive technology. In the end, I created a roadmap to behavior change: a compilation of research from my own studies and existing literature. The roadmap includes observations and practical tips people can use when designing for environmental issues, as well as a set of ethical principles that should be followed when designing for behavior change. I believe that my work will help designers use communication to empower individuals with knowledge, encouraging them to begin and sustain a journey toward positive behavior change.

Accompanying workbook not available in digital format / Both empirical and anecdotal evidence indicates that visual communication1 design practices implemented by designers with full colour vision often disadvantage, and sometimes endanger, colour-blind people. The thesis The Machine postulates that colour-blind people – comprising approximately 8% of males and 0.5% of females (Lewis et al., 1990) – are marginalized by such practices. It argues that this group could benefit from a design strategy that enhances the communicative potential and visibility of colour. The proposed strategy involves embedding pattern into potentially confusing colours such as red and green. The embedded pattern would function for colour-blind people as an additional clue to the identity of these colours. The thesis contends that while colour alone can be confusing for colour-blind people, patterned colour could offer a solution with a wide range of possible applications. The research aims of The Machine include: developing a system of patterned colour; creating a wordless picture book that demonstrates the effectiveness of the system; constructing a narrative around the condition of red-green colourblindness; and employing visual rhetoric2 to increase awareness of and sensitivity to colour-blindness among those with full colour vision. The design of the thesis is supported by research in a number of interrelated areas. These include the history of pattern post-1850, particularly in Western culture; precedents for patterned colour; and visual rhetoric in story-telling. The research also incorporates an analysis of the defining characteristics of ten late twentieth-century and early twenty-first-century wordless picture books. The thesis is further supported by applied research into patterned colour and visual rhetoric. The Machine aims to benefit colour-blind people, a significant minority group whose visual needs are currently inadequately met. In addition, it proposes broadening the cultural role and significance of pattern. Moreover, by incorporating informative elements usually associated with pedagogic material, it aspires to extend the boundaries of the fantasy picture book genre. 1 Visual communication (n): communication that relies on vision (Wordnet, 2006). 2 Visual rhetoric: the use of visual techniques, such as the creation of visually ‘engaging’ characters, as a means of persuading a target audience

This study explores the theory of emotional contagion and then offers insights as to how communication designers could practically apply aspects of this theory to a communication campaign. Schoenewolf (1990) describes emotional contagion as “a process in which a person or group influences the emotions or behavior of another person or group through the conscious or unconscious induction of emotion states and behavioral attitudes” (p. 50). A significant aspect of this theory involves joint consumption. This suggests that an experience of an event differs when more than one person is involved. Ramanathan and McGill’s (2007) recent study suggests that a stronger positive or negative evaluation of a shared experience is achieved through the creation of emotional contagion. When considering this, an opportunity exists to establish recommendations for the design industry to employ in order to enhance an audience’s response. In order to be successful in constructing a pertinent strategy it is critical to consider the way in which people perceive experiences; central to this theme are the five senses. Research into the five senses which include sight, sound, smell, touch and taste, indicates the significant impact over an individuals’ emotions and decision making process. To date the human senses have been largely neglected within the design industry due to conventional use of mainstream media. Through using non-traditional media, participants could be connected on a more sensory level through means of interactive involvement. From a holistic perspective the overarching methodology will be that of research for design (Frayling, 1993, as cited in Downtown, 2003). The emphasis will therefore be on providing insights and ideas as to how the design industry could, through non-traditional media, embrace emotional contagion. Supporting methods will be a combination of the following: 1. Case studies. These will include an analysis of precedents 2. A self generated design campaign. The focus will be tourism. This has been chosen because of its experiential and shared nature.

The objective of this research is to demonstrate that co-creative sketching as a part of the participatory process has the potential to support the developmental nature of a visual communication tool used to promote the exchange of experience. The tool is intended to create an informative hub that influences a travellers experience of a location. Ethnographic research as reflective sketching was conducted in the Tongariro National Park. Within this setting reflective sketching located the kitchen and common area of traveller specific accommodation as an ideal collaborative environment to conduct participatory design research. In this collaborative environment snowboarders and skiers who are aged between 20-30 years are identified as the target audience. This specific audience participated in co-creative sessions throughout the design process, resulting in the participatory design of the tool. The design aim of the visual communication tool was to promote the exchange of experience between snowboarders and skiers about a specific location. This was achieved by adapting generative tools made up of a visual language which supported the word of mouth exchange and individual expression. The exchange of experiences was facilitated by co-creative sketching with the visual language during a state of play. Playful co-creative sketching supported word of mouth dialogue between the snowboarders and skiers in a way that co-created an informative visual representation of the dialogue or contextmap. The resulting contextmap represented an image for experience which was beyond an individuals conception and made individuals tacit-knowledge accessible to audiences within and outside the moment of exchange, creating an informative hub which influenced the specific audiences view of experience for a location. An action research methodology is used during the course of this research, informed by the approaches of co-creation, context-mapping and generative tools. These approaches constructed a theoretical framework for the participatory development and co-creative sketching of the communication tool. This supportive thesis discusses the context, the theoretical concepts and provides an in depth account on the research through design process; the week-by-week participatory process undertaken to develop the visual communication tool.

The objective of this research is to demonstrate that co-creative sketching as a part of the participatory process has the potential to support the developmental nature of a visual communication tool used to promote the exchange of experience. The tool is intended to create an informative hub that influences a travellers experience of a location. Ethnographic research as reflective sketching was conducted in the Tongariro National Park. Within this setting reflective sketching located the kitchen and common area of traveller specific accommodation as an ideal collaborative environment to conduct participatory design research. In this collaborative environment snowboarders and skiers who are aged between 20-30 years are identified as the target audience. This specific audience participated in co-creative sessions throughout the design process, resulting in the participatory design of the tool. The design aim of the visual communication tool was to promote the exchange of experience between snowboarders and skiers about a specific location. This was achieved by adapting generative tools made up of a visual language which supported the word of mouth exchange and individual expression. The exchange of experiences was facilitated by co-creative sketching with the visual language during a state of play. Playful co-creative sketching supported word of mouth dialogue between the snowboarders and skiers in a way that co-created an informative visual representation of the dialogue or contextmap. The resulting contextmap represented an image for experience which was beyond an individuals conception and made individuals tacit-knowledge accessible to audiences within and outside the moment of exchange, creating an informative hub which influenced the specific audiences view of experience for a location. An action research methodology is used during the course of this research, informed by the approaches of co-creation, context-mapping and generative tools. These approaches constructed a theoretical framework for the participatory development and co-creative sketching of the communication tool. This supportive thesis discusses the context, the theoretical concepts and provides an in depth account on the research through design process; the week-by-week participatory process undertaken to develop the visual communication tool.

Title: Designing Communication for Dialogue and Engagement Authors: Christopher Bradson & Sofia Amanuel Level: Master Thesis, 30p  Keywords: Dialogue, Communication Design, Stakeholder engagement, Stakeholder communication, CSR communication.  Background: The changed attitudes about the role of business in today's contemporary society alongside with globalization and the evolved media-information environment has enlarged the pressures on businesses in regards to how they should pursue profitability, while responding to demands about accountability that is motivated beyond financial gain. There is a need for a better understanding about communication choices and how these are perceived by intended stakeholders, in order to accelerate effective communication that initiates stakeholder engagement. Research Questions:(1)How is Volkswagens communication design constructed in creating dialogue and engagement after a corporate scandal with its customers? (2)How does Swedish Volkswagen customers, in attribute of being external stakeholders, perceive the opportunities for engagement based on the four selected Volkswagen tools? What challenges does Volkswagen encounter when trying to create dialogue through these tools? Purpose: The purpose of this thesis is to examine how Volkswagen is creating opportunities for stakeholder dialogue and engagement through the theoretical perspective of communication design. By engagement we mean one-way or two-way communication, where stakeholders seek out or take part of communicative messages provided by the organisation.The study aims to examine how Volkswagen has designed their communication efforts, after being subjected to a global corporate scandal which proposed public demands for accountability and responsibility. Theoretical Framework: The framework consists of Communication theories, giving considerable space to literature from theorists Aakhus and Bzdak whom developed the framework for communication design used in this study. Additionally, the framework includes a smaller selection of CSR, Public Relation, and Media research focusing on stakeholder engagement.  Method: We have taken two parallel methodological pathways. The first method involved applying for elements provided by Aakhus and Bzdak framework for reconstructive design, while doing a thematic analysis on the media texts provided by the tools. The second research question was examined by conducting semi-structured interviews with Swedish Volkswagen stakeholders in order to gain a deeper understanding if Volkswagens communicative instruments were enabling engagement.   Findings & Conclusions: Our study concludes that Volkswagen is showcasing constructs in their design that aims to reduce scepticism among stakeholders, addressing important issues for stakeholders, providing solutions and articulating progress in multi-stake issues. Wealso conclude that Volkswagens communication messages are conveyed in a calculated way, with a persuasive nature to create an identity of being a ‘corporate good citizen’.There is a complexity in terms of diminishing scepticism, since stakeholders are being more demanding in today's society, particularly after a corporate scandal such as the one Volkswagen has been subjected to. Stakeholders are becoming more aware that companies are dictating the dialogic discourse, which affects the communication design in what motives a company incorporates in their communication. We conclude that customers felt that the opportunities to engage with the company was fairly low, and highly depended on how they where processing the nature of the messages (intrinsic/extrinsic),as well as how they defined engagement from personal beliefs and values.

This thesis uses a systematic understanding of sustainability informed by human needs, learning and design theory to explore ways in which small retail environments can effectively communicate sustainability concepts. The envisioned outcome of successfully communicating and implementing sustainability within retail environments is a lasting change in people’s daily behaviors. The methods of literature review, surveys, human needs investigation and professional validation are used to develop a behavioral change model centered on human needs and learning as well as six communication guidelines. The appendix of this thesis contains a user-friendly pocket guidebook titled The Six Guidelines for Sustainable Retail. The guidebook is designed as a quick-reference tool for retailers, designers and employees. It contains principles, visuals and concepts of sustainability for daily communication and comprehension purposes.

This study explores the conceptual relationship between design aesthetics and Aristotelian rhetoric in the context of information visualisation. Aesthetics and rhetorical theory are traditionally studied as separate discourses, but conceptual links between these fields are identified, specifically in terms of communicative goals and strategies. This study therefore compares selected theories on design aesthetics and Aristotelian rhetoric in information visualisation in order to ascertain whether a combined framework may be feasible. Although information visualisation is traditionally practiced from software engineering disciplines, this study frames the practice within the broader field of information design. The democratisation of the field of information visualisation and the emerging practices that emphasise the aesthetic value of visualisations is explored. In order to understand what is meant by the term ‘aesthetic’, a variety of both classical and contemporary views on aesthetics theory is investigated. Even though the term ‘aesthetic’ is not defined, a broad understanding is created by identifying the main conceptual themes in discourse. A specific focus is placed on understanding aesthetics in a design context, since there are many misconceptions about ‘aesthetics’ in this context. The idea that aesthetics relates to the communication of artifacts is explored, which provides a point of departure in linking aesthetics and rhetorical theory. The communicative nature of information visualisations is thus explored in relation to visual rhetorical theory. Aristotle’s three rhetorical appeals, namely logos, pathos and ethos, form the backbone of the visual rhetorical analysis of visualisation artifacts. The aesthetic and rhetorical theories explored throughout the study are compared by applying them to Charles Joseph Minard’s seminal information visualisation of Napoleon’s march to Moscow. This comparative analysis considers the traditional divide between aesthetics and rhetorical theory but identifies sufficient conceptual links between the discourses to suggest that a combined aesthetic-rhetorical framework for information visualisation may indeed be practical. Lastly, the wider implications and potential value of such a combined framework is considered within a broader design context. Copyright / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted

The Diploma thesis is focused on marketing and semiotics and the use of these two fields combined. In the course of the thesis, we will deal with the analysis of single visual marketing modes and the overall impact on perception of the brand and also its ́ building by linking these elements. In the thesis, we will focus on the Gunter Kress ́ theory of multimodality and, in this context, we will focus on the contents of the Brand manual, which is the key to brand building. Attention will be paid to semiotic analysis of logos, utilization of images and photos, colors and fonts and other components important for creating a visual marketing strategy. In the empirical section, two similar brands will be introduced, on which the single modes will be demonstrated and analyzed. Although the two brands are similar to each other, one has a clearly recognizable brand identity, while the other brand is failing. Also, the second brand obviously does not follow the Brand manual. By analyzing and comparing the visual content of these two brands, we will be able to detect errors that may be critical to brand building and may have a negative impact on the perception of the potential clients with the result of brand extinction. In the result of the thesis, we should be able to confirm the importance of using...