Victor Burton é um designer que dedicou a maior parte do seu trabalho ao livro. A fascinação por este objeto começou ainda na infância devido ao contato com as obras raras da biblioteca da família, o que aguçou o desejo de se tornar designer exclusivamente para projetar livros. Sua atuação no mercado editorial brasileiro começou no final dos anos 1970, na editora Confraria dos Amigos do Livro. Como o maior interesse de Victor no livro é a relação entre texto e imagem, os livros iconográficos se tornaram seu principal objetivo e são nos livros desta natureza onde melhor conseguimos visualizar seu estilo. Victor desenvolveu uma linguagem gráfica própria que redefiniu o padrão do mercado editorial brasileiro. Numa época em que o projeto gráfico, principalmente a capa do livro, entre tantas cores e atrativos disputam a atenção do consumidor nas prateleiras das livrarias, já não é tão fácil identificar nem a editora nem a autoria do projeto gráfico e da capa. Entretanto, os livros de Victor Burton possuem um estilo que nos permite reconhecer sua assinatura. Desta forma, a questão que norteou este trabalho foi por que conseguimos identificar os livros do designer Victor Burton? Sendo assim, o objetivo deste trabalho foi enumerar e identificar os aspectos gráficos que caracterizam o estilo deste designer nos livros iconográficos. Para isso, nos baseamos no método descritivo desenvolvido por Guilherme Cunha Lima, em O Gráfico Amador. A partir das características levantadas, pudemos identificar os principais elementos que nos permite reconhecer a autoria dos trabalhos desenvolvidos por Victor Burton. O uso desses aspectos gráficos reflete o trabalho meticuloso do designer Victor Burton que consegue criar uma narrativa visual auxiliando a leitura do texto através de uma nova leitura gráfica, sobretudo nos livros iconográficos / The designer Victor Burton has dedicated the most part of his work to the book. The interest for this object begun in childhood due the contact with rares books that are part of his familys collection, which increased the desire to become designer only to design books. When Victor started to work in the Brazilian editorial market at the end of the 1970s, at the Confraria dos Amigos do Livro house publisher. As the Victors main interest is the relationship between text and image, the iconographic books became his main goal and are in books of this nature that we can better visualize his style. Victor developed his own graphic language that has redefined the standard of the Brazilian editorial market. At a time when graphic design, especially the book cover, among many colors and attractive vie for consumer attention on the shelves of bookstores, is not so easy to identify neither the publisher nor the author of the graphic design and cover. However, the books of Victor Burton have a style that allows us to recognize your signature. Thus, the question that guided this study was why we can identify books of Victor Burton? Thus, the aim of this study was to enumerate and identify graphic aspects that characterize the style of this designer in iconographic books. For this, we based on descriptive method developed by Guilherme Cunha Lima in O Gráfico Amador. From the characteristics raised, we could identify the major elements that allow us to recognize the authorship of the work of Victor Burton. The use of these graphic aspects reflects the meticulous work of the designer Victor Burton who can create a visual narrative aiding reading the text through a new graphic reading, especially in iconographic books.

Os valores e a cultura dos designers fazem parte do processo projetual e podem ser considerados de extrema relevância, visto que a cultura do designer pode ser uma fonte de inovação e de criatividade no decorrer do processo projetual do design. Este trabalho aborda o papel das referências culturais do designer gráfico no seu processo de trabalho. Busca descrever como os designers gráficos atuantes no estado do Rio Grande do Sul, mais precisamente na cidade de Porto Alegre, percebem o efeito de suas atividades culturais e de seu ambiente cultural em seu repertório e na sua prática projetual. O estudo busca caracterizar a relação entre a cultura do designer e a prática de design gráfico, identificar a presença do repertório cultural no discurso dos designers gráficos e identificar os fatores que emergem como relevantes no discurso dos designers gráficos. Para isso foram realizadas entrevistas com seis designers gráficos atuantes em Porto Alegre. A análise das entrevistas sugere que, em todos os casos, o desenvolvimento profissional está relacionado com o repertório cultural, ficando claro o quanto esses designers reconhecem que sua atividade profissional é afetada por seu repertório e ambiente cultural. Foram identificados sete fatores que emergem como relevantes no discurso dos designers gráficos e que podem explicar suas trajetórias profissionais: formação orientada a uma profissão criativa desde a infância; busca por uma atividade criativa; influência das artes plásticas; conhecimento de outras culturas (viagens, história); aprendizagem por meio de troca com colegas experientes; ampliação constante do repertório (eventos culturais, cursos); e relacionamento com clientes. / Values and culture of designers are part of design process and can be considered extremely relevant, since a culture of designer can be a source of innovation and creativity during design process of design. This study approaches the role of cultural references of graphic designer in their work process. Search describe how graphic designers actants in Rio Grande do Sul state, more precisely in the city of Porto Alegre, perceived the effect of their cultural activities and their cultural environment in their repertoire and their design practice. This study aims to characterize the relationship between culture of design and graphic design practice, identify presence of cultural repertoire in graphic designers' discourse and identify factors that emerge as relevant in the discourse of graphic designers. For that interviews with six graphic designers actants in Porto Alegre. Analysis of interviews showed that, in all cases, the professional development is related with cultural repertoire, becoming clear how much these designers recognize that their professional activity is affected by your repertoire and cultural environment. Seven factors were identified that emerge as relevant in the graphic designers’ discourse and may explain their professional trajectories: formation oriented to creative profession since childhood; search for creative activity; influence of visual arts; knowledge of other cultures (travel, history); learning through exchanges with experienced colleagues; constantly expanding repertoire (cultural events, courses); and customer relationships.

Os valores e a cultura dos designers fazem parte do processo projetual e podem ser considerados de extrema relevância, visto que a cultura do designer pode ser uma fonte de inovação e de criatividade no decorrer do processo projetual do design. Este trabalho aborda o papel das referências culturais do designer gráfico no seu processo de trabalho. Busca descrever como os designers gráficos atuantes no estado do Rio Grande do Sul, mais precisamente na cidade de Porto Alegre, percebem o efeito de suas atividades culturais e de seu ambiente cultural em seu repertório e na sua prática projetual. O estudo busca caracterizar a relação entre a cultura do designer e a prática de design gráfico, identificar a presença do repertório cultural no discurso dos designers gráficos e identificar os fatores que emergem como relevantes no discurso dos designers gráficos. Para isso foram realizadas entrevistas com seis designers gráficos atuantes em Porto Alegre. A análise das entrevistas sugere que, em todos os casos, o desenvolvimento profissional está relacionado com o repertório cultural, ficando claro o quanto esses designers reconhecem que sua atividade profissional é afetada por seu repertório e ambiente cultural. Foram identificados sete fatores que emergem como relevantes no discurso dos designers gráficos e que podem explicar suas trajetórias profissionais: formação orientada a uma profissão criativa desde a infância; busca por uma atividade criativa; influência das artes plásticas; conhecimento de outras culturas (viagens, história); aprendizagem por meio de troca com colegas experientes; ampliação constante do repertório (eventos culturais, cursos); e relacionamento com clientes. / Values and culture of designers are part of design process and can be considered extremely relevant, since a culture of designer can be a source of innovation and creativity during design process of design. This study approaches the role of cultural references of graphic designer in their work process. Search describe how graphic designers actants in Rio Grande do Sul state, more precisely in the city of Porto Alegre, perceived the effect of their cultural activities and their cultural environment in their repertoire and their design practice. This study aims to characterize the relationship between culture of design and graphic design practice, identify presence of cultural repertoire in graphic designers' discourse and identify factors that emerge as relevant in the discourse of graphic designers. For that interviews with six graphic designers actants in Porto Alegre. Analysis of interviews showed that, in all cases, the professional development is related with cultural repertoire, becoming clear how much these designers recognize that their professional activity is affected by your repertoire and cultural environment. Seven factors were identified that emerge as relevant in the graphic designers’ discourse and may explain their professional trajectories: formation oriented to creative profession since childhood; search for creative activity; influence of visual arts; knowledge of other cultures (travel, history); learning through exchanges with experienced colleagues; constantly expanding repertoire (cultural events, courses); and customer relationships.

Collaboration between Designers and Scientists in the Context of Scientific Research This thesis presents the results of a research project that examines collaboration between product designers and scientific researchers. For this purpose, it initially illustrates the objectives and scope of the research and examines current relevant literature on the subject, highlighting its reach and limitations. The core research question is then introduced: How can product designers and scientists collaborate and, as a result, how might designers contribute towards scientific research activity? This question is subsequently answered in several stages. First, the relevant literature is reviewed in order to produce an analytical framework. It examines the disciplinary characteristics of designers and scientists, the characteristics of both design work and scientific research, and the nature of interdisciplinary collaboration. This analytical framework is then used as the basis for a collaboration matrix to record and examine the collaboration between designers and scientists. Secondly, the analytical framework is also employed to help explore findings from five case studies (three exploratory and two development cases) in which designers worked alongside scientists. Finally, results from the case studies are compared with current theoretical work on the subject, highlighting differences and commonalities. As a result of this analysis, the thesis answers the research question posed and presents as a main contribution: -The main ways in which designers collaborate with scientists. -The roles that designers might have while collaborating with scientists. -The contribution that designers can offer to scientific research. -The barriers to and enablers of collaboration between designers and scientists. -The areas of scientific research in which design intervention can make an impact.

The graphical user interface (GUI) could have a major impact on the successof an application. Like any other software component, the GUI is designedbefore being developed. The software design process usually starts with anabstract design that is illustrated via a modeling language and narrows downto more specific details during the process. However, there are not anymodeling languages that are explicitly focusing on designing the blueprint ofthe GUI. Developing a modeling language that is specialized in designing theskeleton of the graphical user interface could offer the software designers,architectures and clients the means of obtaining a better communication andunderstanding. Thus, developing a better product. In this report, thedevelopment of such a modeling language was made. The modeling languagecan illustrate the blueprint of the GUI. The development process was madeafter researching and finding the most suitable development procedures forour modeling language.

Thesis (Master of Retail Business Management)--Cape Peninsula University of Technology, 2020 / Like many other suppliers, South African fashion-clothing designers have dealt with a very competitive environment within the retail industry. Thus, this research study explored the most suitable supply-chain-management model for South African fashion designers to achieve efficiency and economic sustainability within the retail environment. In today’s complex markets, the susceptibility of the supply chain is viewed as an ongoing issue for several industries and it is no different for fashion designers. As a result, in the past, the visibility of South African fashion designers in the retail environment appeared to be minimal. Matching the appropriate supplychain-management model with South African fashion designers in retail was the purpose and core focus of this research study, as the “one size fits all” approach appeared questionable and perhaps unrelatable to SMMEs. This research study explored the relationships between fashion designers and clothing retailers, together with supporting stakeholders such as government institutions, fashion councils, educational institutions, and the different consultants or agents. This was done to establish how the different parts could potentially function individually or collaboratively in order to develop an effective and sustainable supply-chain-management model for South African fashion designers in the retail environment. The primary focus and aim of the study was to assess the different functions within the supply-chain-management model and propose a more relevant model for South African fashion designers supplying the retail clothing environment. To reach the objectives of this research study, the empirical information was collected through the qualitative approach, by making use of in-depth semi-structured interviews, as that allowed the participants to answer the questions unreservedly based on their own personal and professional experience. The problem this research study identified was that a significant number of South African fashion-designer brands struggled to maintain longevity and success within the retail environment, due to the supply-chain changes South African fashion designers experienced when supplying retail. Through empirical research, it was identified that the supply-chain-management models available for retail clothing suppliers were designed for larger businesses and not specifically for fashiondesigner businesses which were classified as small, medium and micro-sized enterprises (SMMEs). The findings revealed that, for the fashion and retail clothing industry to realise an effective and sustainable supply-chain-management model for South African designers, the supply chain required good communication and support. The study recommended the establishment of close-proximity hubs, with fashion clothing supply chain functions, in major South African metropolitan cities, which could possibly be achieved through specialised and regulated education and the formation of a national fashion council.

The purpose of this qualitative case study was to examine the experiences of instructional designers and professors during the online course development process and to determine if their experiences had an effect on the process itself. To gain an understanding of their experiences, open-ended interviews were conducted, seeking descriptions of participants’ interactions with project partners and their perspectives on technical aspects and current best practice guidelines. Five instructional designers and five professors from Utah State University (USU) who met selection criteria were purposefully selected and were recommended by an administrator from USU. Instructional designers included one female and four males, ranged from 2 to 6 years of development experience at USU. Professors, all male, had relatively little development experience, ranging from one to five courses, and had at the most, three years of online teaching experience. Data analysis revealed five emergent themes: communication, commitment to quality online courses, commitment to building robust working relationships, mutual respect for one another's time and talents, and satisfaction in working with online course development. Communication was the most prevalent factor identified as having a positive effect on the development process. Lack of time was most prevalent as an impediment to the process. In conclusion, a workplace culture that fostered good experiences and the opportunity to interact in a supportive environment was beneficial to the online course development process. Managers and others involved in the process should be mindful of the workplace culture and consider dedicating effort and resources to preserve its integrity.

[pt] Esta tese buscou levantar como os futuros designers compreendem/percebem o design na contemporaneidade e qual(is) a(s) possível(is) identidade(s) do design no Brasil. Objetivou-se estabelecer um panorama sobre quais as percepções dos formandos sobre o que é design, quais as principais “personagens” que os inspiram e o que esperam de sua atuação no futuro. Para tal, foram alcançados os seguintes objetivos específicos: caracterizar o design na contemporaneidade; levantar conceitos de design; levantar as influências estrangeiras na formação em Design no Brasil; identificar, no discurso dos futuros designers brasileiros, as percepções sobre conceitos de design, influências e perspectivas de atuação; refletir sobre a(s) identidade(s) do design no Brasil. A partir dos discursos dos alunos e de suas referências teóricas, foi possível perceber que a compreensão do design no Brasil é influenciada por países que são referências em design, majoritariamente os Estados Unidos, o que compromete a constituição de uma identidade nacional e/ou identidades regionais. Atualmente, poucos estudos têm abordado as características e compreensões do formando sobre sua profissão. Com esta pesquisa, estabeleceu-se um panorama sobre as percepções do aluno acerca de conceitos, influências e perspectivas de atuação, que contribuiu para a reflexão sobre a(s) identidade(s) do design no Brasil. Constituiu-se um percurso metodológico pautado em uma pesquisa exploratória/explicativa e qualitativa/quantitativa, com as seguintes grandes etapas: pesquisa bibliográfica e documental; piloto da pesquisa; estudo de caso em território nacional; e reflexões sobre a(s) identidade(s) do design no Brasil. / [en] This thesis researched how future designers understand design in contemporaneity. From students discourse and their theoretical references, it was possible identify that the understanding of design in Brazil it s influenced by references countries in design, which compromises the constitutions of a national identity and/or regional identities. We had as objective establish a viewpoint about graduation students perceptions about what is design, most important characters that inspires them, and future performance. For that, it was accomplished the following specific objectives: characterize design in contemporaneity; bring up design concepts; raise the foreign influences in the Brazilian Design formation; identify in future designer s discourse, the perceptions about concepts of design, influences and perspectives of performance; think over identity (identities) of design in Brazil. Presently, there are few studies addressing to characteristics and comprehensions of future designers about their profession. With this research, it was possible to establish a viewpoint about student s perception of concepts, influences and perspectives of performance, which contributes to the discussion about identities of design in Brazil. The methodological course was lined as an exploratory/explanatory e qualitative/quantitative research, with the following steps: bibliographic and documental research; pre-test research; case study in national territory; and reflections about identities of design in Brazil.

The report Genomlysning branschstandard för fuktsäker byggprocess (translated as “Reviewof the industry standard for moisture-proof construction process”) is produced by a group ofpeople who represent different actors within the construction sector. These actors are wellacquainted with the industry standard ByggaF (an abbreviation of “building moisture-proof”),which is a method for moisture safe design. The report states that the moisture safety design isthe part in the industry standard ByggaF that works the worst.The report mentions that there are many indications that the moisture safety design will beelevated from general advice to regulation (requirement) in the upcoming BBR (Boverket’sbuilding regulations). The purpose and goal of this paper is to examine how this elevationwould affect the actors, i.e. the designers, and their work.The paper comprises two parts. The first is a literature study that aims to give the reader ageneral theoretical understanding of current regulations, the moisture problem and theconstruction process and more specifically describe moisture safety design, the industrystandard ByggaF, the system documentation phase (systemhandlingsskedet) and the newbuilding regulations. The second part is a survey consisting of a questionnaire of 20 questionssent to architects and constructors. The questionnaire consists of four parts: Professionalbackground, Moisture knowledge, Moisture safety design and Viewpoints. The first three partsaim to obtain general information about the professional background of the participatingactors, what moisture knowledge they consider themselves to possess and how they work withmoisture safety design. In the last part, the actors give their views on the change from generaladvice to regulation.The result of the last part of the questionnaire, viewpoints, was mainly used in combinationwith the literature study to answer the questions asked in this paper. To summarise, themajority of the actors are positive about the elevation. It will force affected parties and actorsto take the moisture problem seriously. Actors will be able to justify their moisture-proofdesigns more easily as a result. This will lead to increased competence among the actors, butalso demands of greater knowledge from them. As a regulation, the moisture safety design willclarify and simplify the daily work as there is no room for misinterpretation and neglect. As aresult, moisture safety design will become more efficient.

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