Tendo como campo de estudo o Brique da Redenção, um dos mais importantes pontos de comercialização de artesanato em Porto Alegre-RS, esta pesquisa teve como objetivo geral mapear o contexto atual da utilização de identidades visuais por artesãos que ali expõem seus produtos e a possibilidade de inserção do design gráfico junto ao artesanato em ações de comunicação visual. A base teórica aborda o design gráfico vernacular e o institucionalizado, o artesanato, a identidade visual e sua importância para a atividade artesanal. Junto aos artesãos, foram coletados materiais gráficos, nos quais se realizou uma análise dos elementos visuais que representam o nome comercial de seus produtos. Com o intuito de compreender melhor estas identidades visuais, efetuou-se uma análise comparativa com os princípios e normas de composição visual estabelecidas pelo design gráfico institucionalizado. No artesanato, percebeu-se a predominância de linguagem visual vernacular que, para o design gráfico institucionalizado, não é satisfatória de acordo com os padrões tidos como de qualidade. Por meio de entrevistas, buscou-se diagnosticar a percepção que os artesãos têm sobre a comunicação visual de marca, a sua satisfação em relação àquelas que utilizam, bem como investigar se ocorre ou não a participação de profissionais de design gráfico na promoção do artesanato comercializado no Brique da Redenção. Para transcrição, codificação e análise destes dados, os mesmos foram agrupados por temas correspondentes, identificando enunciados em comum e codificando-os. Os resultados apontam uma carência de projetos consistentes de identidades visuais para os artesãos, indicando um rico campo de atuação para o design junto ao artesanato em ações que visem à melhoria da comunicação visual deste segmento. / Having Brique da Redenção as the field of study, which is one of the most important points of handicraft commercialization in Porto Alegre - RS, this study aimed to mapping the current context of the use of visual identities by artisans who exhibit their products there and the possibility of insertion of graphic design along with handicraft in actions of visual communication. The theoretical basis approaches the vernacular and the institutionalized graphic design, the handicrafts, the visual identity and its importance to the handicraft activity. Along with the artisans, graphic materials were collected, in which an analysis of visual elements that represent the commercial name of their products was made. In order to understand better these visual identities, a comparative analysis was done with the principles and rules of visual composition established by the institutionalized graphic design. In the handicraft activity, a dominance of vernacular visual language was perceived, which, for the institutionalized graphic design, it is not satisfactory according to the standards taken as quality. Through interviews, the perception that the artisans have regarding the visual communication of their brand was sought as well as their satisfaction with regard to the ones who use them and investigate if the participation of graphic design professionals occur to promote the crafts commercialized at Brique da Redenção. For transcription, coding and analysis of these data, they were gathered by their correspondent themes, identifying statements in common and coding them. The results point a lack of consistent projects of visual identities for the artisans, indicating a rich field of work for design along with the handicraft in actions which aim the improvement of the visual communication of this segment.

Tendo como campo de estudo o Brique da Redenção, um dos mais importantes pontos de comercialização de artesanato em Porto Alegre-RS, esta pesquisa teve como objetivo geral mapear o contexto atual da utilização de identidades visuais por artesãos que ali expõem seus produtos e a possibilidade de inserção do design gráfico junto ao artesanato em ações de comunicação visual. A base teórica aborda o design gráfico vernacular e o institucionalizado, o artesanato, a identidade visual e sua importância para a atividade artesanal. Junto aos artesãos, foram coletados materiais gráficos, nos quais se realizou uma análise dos elementos visuais que representam o nome comercial de seus produtos. Com o intuito de compreender melhor estas identidades visuais, efetuou-se uma análise comparativa com os princípios e normas de composição visual estabelecidas pelo design gráfico institucionalizado. No artesanato, percebeu-se a predominância de linguagem visual vernacular que, para o design gráfico institucionalizado, não é satisfatória de acordo com os padrões tidos como de qualidade. Por meio de entrevistas, buscou-se diagnosticar a percepção que os artesãos têm sobre a comunicação visual de marca, a sua satisfação em relação àquelas que utilizam, bem como investigar se ocorre ou não a participação de profissionais de design gráfico na promoção do artesanato comercializado no Brique da Redenção. Para transcrição, codificação e análise destes dados, os mesmos foram agrupados por temas correspondentes, identificando enunciados em comum e codificando-os. Os resultados apontam uma carência de projetos consistentes de identidades visuais para os artesãos, indicando um rico campo de atuação para o design junto ao artesanato em ações que visem à melhoria da comunicação visual deste segmento. / Having Brique da Redenção as the field of study, which is one of the most important points of handicraft commercialization in Porto Alegre - RS, this study aimed to mapping the current context of the use of visual identities by artisans who exhibit their products there and the possibility of insertion of graphic design along with handicraft in actions of visual communication. The theoretical basis approaches the vernacular and the institutionalized graphic design, the handicrafts, the visual identity and its importance to the handicraft activity. Along with the artisans, graphic materials were collected, in which an analysis of visual elements that represent the commercial name of their products was made. In order to understand better these visual identities, a comparative analysis was done with the principles and rules of visual composition established by the institutionalized graphic design. In the handicraft activity, a dominance of vernacular visual language was perceived, which, for the institutionalized graphic design, it is not satisfactory according to the standards taken as quality. Through interviews, the perception that the artisans have regarding the visual communication of their brand was sought as well as their satisfaction with regard to the ones who use them and investigate if the participation of graphic design professionals occur to promote the crafts commercialized at Brique da Redenção. For transcription, coding and analysis of these data, they were gathered by their correspondent themes, identifying statements in common and coding them. The results point a lack of consistent projects of visual identities for the artisans, indicating a rich field of work for design along with the handicraft in actions which aim the improvement of the visual communication of this segment.

As a graphic designer, my goal is to clearly express my clients' message to their intended audience. Based on the diversity of my clients and their products and services, finding a consistent style in my projects might be difficult, although there are usually some typical traits. With examples of my work and dialogue from leaders in the graphic design industry, I intend to point out a common thread that runs through all successful design projects, regardless of the projects' designer, era, or individual design elements (e.g., typography, copywriting, color, layout, imagery). Success comes from graphic design's ability to gain attention and encourage a response.

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The aim of this research is to propose ways in which graphic designers can improve the design of commercial signage in Amman, Jordan. A survey of the effectiveness of recent signage regulation in the type and placement of commercial signage has led to the conclusion that regulations alone will not lead to improved quality in the production and siting of commercial signage without multi-stakeholder involvement and the dedicated training of those working in this field. There is a need for practitioners to develop specialised skills and knowledge in sign design, as opposed to applying only generalised graphic design techniques to sign production. Such skills include problem-solving, visual communication methods and competency in the application of the latest multi-media technology. It is proposed that by developing and incorporating sign-design competencies within the graphic design curriculum, practitioners will be better able to work effectively in this field. Following the investigation of the situation in Amman with respect to commercial signage, four related investigations were undertaken in order to formulate a list of recommendations which could be incorporated into an improved curriculum for teaching sign design. The first study investigated the problems caused by poorly designed and situated commercial signage in Amman. The second and third studies investigated urban signage solutions adopted by companies in other parts of the world, namely the global marketing of the McDonald’s brand and the corporate signage of Coventry University UK. The final study was a comparative investigation of graphic design education (with respect to sign design) in Jordan and the UK. Following these investigations, the Delphi technique was employed to elicit a set of 25 competencies for sign design learners, recommended by an expert panel of sign industry professionals and design academics. It is anticipated that the incorporation of such competencies will contribute to the improvements within the sign industry, as designers become better equipped for the task of sign design. Therefore it is anticipated that this research will contribute to the furthering of design practice by identifying the additional knowledge and competencies that graphic designers need to create appropriate commercial signs.

<p>Den här rapporten innehåller information om hur jag har gått till väga i mitt examensarbete, som har bestått i att utforma två broschyrer och tre skyltar till ett kopparverk i Riddarhyttan. I rapporten redogör jag för hur jag har gått tillväga vid utformningen av mitt arbete, de teoretiska utgångspunkterna som ligger till grund för utformningen samt det slutgiltiga resultatet.</p><p>Bakgrunden till uppgiften är att den befintliga broschyren är, enligt min uppdragsgivare Mona Kärner Eliasson, väldigt jobbig att läsa med svåra facktermer och dåligt utförd layout. De har även tidigare funnits ett skyltsystem som de var tvungna att ta ned för att det var i dåligt skicka och det var även svårt att förstå och hänga med i texterna.</p><p>Vid utformningen av de nya informationsmaterialen har jag både utgått från min uppdragsgivares önskemål så väl som de teoretiska erfarenheterna som jag har fått från böcker och min utbildning inom informationsdesign. Jag började med att titta på broschyren som redan fanns på plats vid kopparverket, och därefter inledde jag mitt arbete med att söka information om och bilder på kopparverket. Jag ringde även runt till olika myndigheter för att få mer information om vilka lagar och regler jag var tvungen att följa i mitt arbete. Jag sökte i olika litteraturer för att få mer kunskap om hur man utformar lättlästa och effektiva budskap. Därefter började mitt arbete med att utforma informationsmaterialen. Under arbetets gång gjorde jag tre utprovningar, en på vardera broschyr och en på skyltarna. Därefter skedde förändringar där det behövdes, innan informationsmaterialen var färdiga.</p>

The design process demands comprehensive knowledge of visual signs and symbols with a focus on visual literacy; it is related to visual syntax, semantics, and the pragmatics of contexts. My work is an interdisciplinary investigation into how designers integrate polysemantic signs into their design process for particular and highly individualized audiences. By analyzing the role of signs in specific contexts across the spectrum of arts, society, literature, and semiotics, a designer's understanding of the cyclical nature of interpretation and reinterpretation in complex environments creates an avenue for cultivating a new schema that provides further levels of interpretations and different access points. By removing elements from their original context, and fusing these elements into new narratives, we implement new meanings and emphasize the value of interpretation.

We are immersed in an era of supermodernity, an age defined by excesses: of information—the acceleration of historical time—spatial overabundance—the nullification of distance by electronic media and transportation—and an excess of self-reflexive individuality. In this context, the idea of place is giving way to non-places: designed spaces in which social relations are tangential and the boundary between the individual and the group is increasingly mediated. Media plays an important role in the creation of non-places, by favoring a removed form of communication made pervasive and extensive through mobile devices. The blurring of the line between media and actuality extends its definition to encompass not only traditional modes such as radio and television but to a web of systems that regulate and determine relationships between people and collective entities. As a visual communicator, I seek to understand the evolving relationship between individuals and society by focusing on the spatial-social codes and gestures that permeate and define our interactions. In my thesis project, I explore the boundary between personal, subjective space and social space in their physical manifestations. I perceive the latent tension that exists between what is expressed and what is kept to ourselves in a highly codified environment. I depict the inadequacies of media narratives to portray human drama and the strength of these codified visual systems to represent the drama of living inside their constraints. I look for ways of representing the duality of our shared vulnerability in the alienation of contemporary living perpetuated through media, and our acceptance of its imbalances.

The design process demands comprehensive knowledge of visual signs and symbols with a focus on visual literacy; it is related to visual syntax, semantics, and the pragmatics of contexts. My work is an interdisciplinary investigation into how designers integrate polysemantic signs into their design process for particular and highly individualized audiences. By analyzing the role of signs in specific contexts across the spectrum of arts, society, literature, and semiotics, a designer's understanding of the cyclical nature of interpretation and reinterpretation in complex environments creates an avenue for cultivating a new schema that provides further levels of interpretations and different access points. By removing elements from their original context, and fusing these elements into new narratives, we implement new meanings and emphasize the value of interpretation.

This thesis includes a body of work that explores our visual relationship to the physical spaces and places we inhabit in our everyday lives. Today we live in a complex world where we are bombarded with fragments of information and inundated with distractions. As designers, we are equipped with tools and methods that allow us to experience and interpret our environment through multi-faceted perspectives and from different viewpoints. My approach to graphic design adopts techniques and practices from a mix of different disciplines. The work focuses on a design process that alternates between the parallel depiction of first-person and third-person vantage points mediated through contemporary technologies.